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Emma
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This article is about the Jane Austen novel. For other uses, see Emma (disambiguation).


EmmaTitlePage.jpg
Title page of first edition, volume 1 of 3

Author
Jane Austen
Country
United Kingdom
Language
English
Genre
Novel of manners
Published
(December 1815 [title page says 1816]) John Murray
Preceded by
Mansfield Park
Followed by
Northanger Abbey
Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The novel was first published in December 1815. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian-Regency England; she also creates a lively comedy of manners among her characters.
Before she began the novel, Austen wrote, "I am going to take a heroine whom no one but myself will much like."[1] In the very first sentence she introduces the title character as "Emma Woodhouse, handsome, clever, and rich." Emma, however, is also rather spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives; and her imagination and perceptions often lead her astray.


Contents  [hide]
1 Plot summary
2 Principal characters
3 Criticism and themes 3.1 Criticism
3.2 Themes
3.3 Emma, or the banality of the real world
4 Adaptations
5 Popular culture
6 See also
7 Notes
8 External links

Plot summary[edit]
Emma Woodhouse, aged 20 at the start of the novel, is a young, beautiful, witty, and privileged woman in Regency England. She lives on the fictional estate of Hartfield in Surrey in the village of Highbury with her elderly widowed father, a valetudinarian who is excessively concerned for the health and safety of his loved ones. Emma's friend and only critic is the gentlemanly George Knightley, her neighbour from the adjacent estate of Donwell, and the brother of her elder sister Isabella's husband, John. As the novel opens, Emma has just attended the wedding of Miss Taylor, her best friend and former governess. Having introduced Miss Taylor to her future husband, Mr. Weston, Emma takes credit for their marriage, and decides that she rather likes matchmaking.
Against Mr. Knightley's advice, Emma forges ahead with her new interest, and tries to match her new friend Harriet Smith, a sweet, pretty, but none-too-bright parlour boarder of seventeen—described as "the natural [i.e., illegitimate] daughter of somebody"—to Mr. Elton, the local vicar. Emma becomes convinced that Mr. Elton's constant attentions are a result of his attraction and growing love for Harriet.
But before events can unfold as she plans, Emma must first persuade Harriet to refuse an advantageous marriage proposal. Her suitor is a respectable, educated, and well-spoken young farmer, Robert Martin, but Emma decides he isn't good enough for Harriet. Against her own wishes, the easily-influenced Harriet rejects Mr. Martin.
Emma's schemes go awry when Mr. Elton, a social climber, fancies Emma is in love with him and proposes to her. Emma's friends had suggested that Mr. Elton's attentions were really directed at her, but she had misread the signs. Emma, rather shocked and a bit insulted, tells Mr. Elton that she had thought him attached to Harriet; however Elton is outraged at the very idea of marrying the socially inferior Harriet. After Emma rejects Mr. Elton, he leaves for a while for a sojourn in Bath, and Harriet fancies herself heartbroken. Emma feels dreadful about misleading Harriet and resolves—briefly—to interfere less in people's lives.
Mr. Elton, as Emma's misconceptions of his character melt away, reveals himself to be arrogant, resentful, and pompous. He soon returns from Bath with a pretentious, nouveau-riche wife who becomes part of Emma's social circle, though the two women soon loathe each other. The Eltons treat the still lovestruck Harriet deplorably, culminating with Mr Elton very publicly snubbing Harriet at a dance. Mr. Knightley, who had until this moment refrained from dancing, gallantly steps in to partner Harriet, much to Emma's gratification.
An interesting development is the arrival in the neighbourhood of the handsome and charming Frank Churchill, Mr. Weston's son, who had been given to his deceased wife's wealthy brother and his wife, the Churchills, to raise. Frank, who is now Mrs. Weston's stepson, and Emma have never met, but she has a long-standing interest in doing so. The whole neighborhood takes a fancy to him, with the partial exception of Mr. Knightley, who becomes uncharacteristically grumpy whenever his name is mentioned and suggests to Emma that while Frank is clever and engaging, he is also a rather shallow character.
A third newcomer is the orphaned Jane Fairfax, the reserved, beautiful, and elegant niece of Emma's impoverished neighbour, the talkative Miss Bates, who lives with her deaf, widowed mother. Miss Bates is an aging spinster, well-meaning but increasingly poor; Emma strives to be polite and kind to her, but is irritated by her constant chattering. Jane, very gifted musically, is Miss Bates' pride and joy; Emma envies her talent, and although she has known Jane all her life has never warmed to her personally. Jane had lived with Miss Bates until she was nine, but Colonel Campbell, a friend of her father's, welcomed her into his own home, where she became fast friends with his daughter and received a first-rate education. But now Miss Campbell has married, and the accomplished but penniless Jane has returned to her Bates relations, ostensibly to regain her health and to prepare to earn her living as a governess. Emma is annoyed to find the entire neighborhood, including Mrs. Weston and Mr. Knightley, singing Jane's praises, but when Mrs. Elton, who fancies herself the new leader of Highbury society, patronizingly takes Jane under her wing and announces that she will find her the ideal governess post, Emma begins to feel some sympathy for Jane's predicament.
Still, Emma sees something mysterious in Jane's sudden return to Highbury and imagines that Jane and Miss Campbell's husband, Mr. Dixon, were mutually attracted, and that is why she has come home instead of going to Ireland to visit them. She shares her suspicions with Frank, who had become acquainted with Jane and the Campbells when they met at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a piano, sent by an anonymous benefactor, arrives for Jane.
Emma tries to make herself fall in love with Frank largely because almost everyone seems to expect it. Frank appears to be courting Emma, and the two flirt and banter together in public, at parties, and on a day-trip to Box Hill, a local beauty spot. However, when his demanding and ailing aunt, Mrs. Churchill, summons Frank home, Emma discovers she does not miss her "lover" nearly as much as she expected and sets about plotting a match between him and Harriet, who seems to have finally got over Mr. Elton. Harriet breathlessly reports that Frank has "saved" her from a band of Gypsies, and seems to be confessing her admiration for him. Meanwhile, Mrs. Weston wonders if Emma's old friend Mr. Knightley has taken a fancy to Jane. Emma immediately dismisses that idea and protests that she does not want Mr. Knightley to marry anyone, and that her little nephew Henry must inherit Donwell, the Knightley family property.
When Mr. Knightley scolds her for a thoughtless insult to Miss Bates, Emma is stunned and ashamed and tries to atone by going to visit Miss Bates. Mr. Knightley is surprised and deeply impressed by Emma's recognition of her wrongdoing, but this meaningful rapprochement is broken off when he announces he must leave for London to visit his brother. Meanwhile, Jane reportedly becomes ill, but refuses to see Emma or accept her gifts, and it is suddenly announced that she has accepted a governess position from one of Mrs. Elton's friends.
On the heels of this comes word that Frank Churchill's aunt has died, and with it the astonishing news that Frank and Jane have been secretly engaged since they first met on holiday a year ago. They had been keeping the engagement quiet because they knew that Frank's imperious aunt would disapprove and likely disinherit him if he went through with the match. The strain of the clandestine relationship had been much harder on the conscientious Jane than the carefree Frank, and the two had quarreled bitterly; but now that his aunt has died, his easygoing uncle has already given his blessing. The engagement becomes public, the secrets behind Jane and Frank's behavior are revealed, and Emma is chagrined to discover that once again she has been so wrong about so much.
Emma is certain that Harriet will be devastated by Frank's engagement, but Harriet reassures her that this is not the case. In fact, Harriet tells Emma, it is Mr. Knightley who has captured her heart, and she believes he returns her feelings. Emma is dumbstruck over what she at first thinks is the impropriety of the match, but as she faces her feelings of dismay and jealousy, she realizes in a flash that she has long been in love with Mr. Knightley herself. She is shattered to think that it may be too late and resolves to support her dear friends in whatever they do, even at the cost of her own broken heart. However, when Mr. Knightley hurries back to Highbury to console Emma over what he imagines to be the loss of Frank Churchill, she discovers that he is also in love with her. He proposes and she joyfully accepts.
There is one more match to be made: With encouragement from Mr. Knightley, the farmer, Robert Martin, proposes again to Harriet, and this time she accepts. Jane and Emma reconcile and all misunderstandings are cleared up before Jane and Frank leave for their wedding and life with his uncle in Yorkshire. Emma and Mr. Knightley decide that after their marriage they will live with Emma's father at Hartfield to spare Mr. Woodhouse loneliness and distress. They seem all set for a union of "perfect happiness," to the great joy of their friends. Mrs. Weston gives birth to a baby girl, to the great satisfaction of Emma, who looks forward to introducing little Miss Weston to her young nephews.
Principal characters[edit]
Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman of the age of twenty. Her mother died when she was very young, and she has been mistress of the house ever since, certainly since her older sister got married. Although intelligent, she lacks the necessary discipline to practise or study anything in depth. She is portrayed as very compassionate to the poor, but at the same time has a strong sense of class. Her affection for and patience towards her valetudinarian father are also noteworthy. While she is in many ways mature for her age, Emma makes some serious mistakes, mainly due to her conviction that she is always right and her lack of real world experience. Although she has vowed she will never ever marry, she delights in making matches for others. She seems unable to fall in love, until she realises at the end that she has loved Mr. Knightley all along.
George Knightley, about thirty-seven years old, is a close friend of Emma, and her only critic, although he cares deeply for her. Mr. Knightley is the owner of the estate of Donwell Abbey, which includes extensive grounds and a farm. He is the elder brother of Mr. John Knightley, the husband of Emma's elder sister Isabella. Mr. Knightley is very annoyed with Emma for persuading Harriet to turn down Mr. Martin, thinking that the advantage is all on Harriet's side; he also warns Emma against matchmaking Harriet with Mr. Elton, correctly guessing that Mr. Elton has a much higher opinion of himself, and will 'act rationally'. He is suspicious of Frank Churchill and his motives; although his suspicion turns out to be based mainly on jealousy of the younger man, his instincts are proved correct by the revelation that Frank Churchill is not all that he seems.
Mr. Frank Churchill, Mr. Weston's son by his previous marriage, is an amiable young man, who manages to be liked by everyone except Mr. Knightley, who considers him quite immature, although this partially results from his jealously of Frank's supposed 'pursuit' of Emma. After his mother's death, he was raised by his wealthy aunt and uncle, whose last name he took. Frank enjoys dancing and music and living life to the fullest. Frank may be viewed as a careless but less villainous version of characters from other Austen novels, such as Mr. Wickham from Pride and Prejudice or Willoughby from Sense and Sensibility. He often manipulates and plays games with the other characters so as to ensure his engagement to Jane remains concealed.
Jane Fairfax, an orphan whose only family consists of an aunt, Miss Bates, and a grandmother, Mrs. Bates, is regarded as a very beautiful, clever, and elegant woman, with the best of manners, and is also very well-educated and exceptionally talented at singing and playing the piano; in fact, she is the sole person whom Emma envies. She has little fortune, however, and seems destined to become a governess – a prospect she dislikes.
Harriet Smith, a young friend of Emma's, is a very pretty but unsophisticated girl who is too easily led by others, especially Emma; she has been educated at a nearby school. The illegitimate daughter of initially unknown parents, she is revealed in the last chapter to be the daughter of a fairly rich and decent tradesman, although not a "gentleman". Emma takes Harriet under her wing early in the novel, and she becomes the subject of some of Emma's misguided matchmaking attempts. Harriet initially rebuffs a marriage proposal from farmer Robert Martin because of Emma's belief that he is beneath her, despite Harriet's own doubtful origins. She then develops a passion for Mr. Knightley, which is the catalyst for Emma realising her own feelings. Ultimately, Harriet and Mr. Martin are wed, despite Emma's initial meddling. The now wiser Emma approves of the match.
Philip Elton is a good-looking, seemingly well mannered, and ambitious young vicar. Emma wants him to marry Harriet; however he aspires to secure Emma's hand in marriage in order to gain her dowry. Mr. Elton displays his mercenary nature by quickly marrying another woman of means after Emma's rejection.
Augusta Elton, formerly Miss Hawkins, is Mr. Elton's wife. She is moneyed but lacks breeding and possesses moderately good manners, at best. She is a boasting, domineering, pretentious woman who likes to be the centre of attention and is generally disliked by Emma and her circle. She displays many of the faults that Mr. Knightley reprimands Emma for, however on a much larger scale. Ironically much of Emma's dislike of Mrs. Elton arises from these faults. She patronises Jane, which earns Jane the sympathy of others.
Mrs. Anne Weston, formerly Miss Taylor, was Emma's governess for sixteen years and remains her closest friend and confidante after she marries Mr. Weston in the opening chapter. She is a sensible woman who adores and idolises Emma. Mrs. Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason, although she is the one to yield in arguments more often than not.
Mr. Weston, a recently wealthy man living in the vicinity of Hartfield, marries Emma's former governess, Miss Taylor, and by his first marriage is father to Frank Churchill, who was adopted and raised by his late wife's brother and sister-in-law. Mr. Weston is a sanguine, optimistic man, who enjoys socialising. His friendship is so indiscriminate that it almost loses its value. Mr. Weston is often blind to the faults of his son, Frank.
Miss Bates is a friendly, garrulous spinster whose mother, Mrs. Bates, is a friend of Mr. Woodhouse. Her accomplished niece, Jane Fairfax, is the light of her life. One day, Emma humiliates her on a day out in the country, when she pointedly alludes to her tiresome prolixity. Afterward, Mr. Knightley sternly rebukes Emma. Shamed, Emma tries to make amends.
Mr. Henry Woodhouse, Emma's father, is always concerned for his own health and comfort, and to the extent that it does not interfere with his own, the health and comfort of his friends. He is a valetudinarian (i.e., similar to a hypochondriac but more likely to be genuinely ill). He assumes a great many things are hazardous to one's health, and is generally a difficult person to handle because he is always fussing about the trifling things which bother him and which he assumes must bother everyone else just the same, to the point of trying to convince his visitors to deny foods he considers too rich. He laments that "poor Isabella" and especially "poor Miss Taylor" have married and been taken away from him, because since he is unhappy about their being gone, he assumes they must be miserable as well; moreover, he dislikes change in general, and marriage is a form of change.
Isabella Knightley (née Woodhouse) is the elder sister of Emma and daughter of Henry. She is married to John Knightley, and spends much of her time at home caring for her five children (Henry, 'little' John, Bella, 'little' Emma, and George), often displaying concern for their health and comfort in a similar manner to her father.
John Knightley is Isabella's husband and George's younger brother. He is an old acquaintance of Jane Fairfax. He indulges his family's desires for visits and vacations, although he would prefer to stay at home, especially if the weather is less than perfect. He can be quite forthright, which sometimes borders on rude.
Criticism and themes[edit]
Criticism[edit]
Early reviews of Emma were generally favourable, but there were some criticisms about the lack of story. John Murray remarked that it lacked "incident and Romance";[2] Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote:[2]

there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel!!
Themes[edit]
Emma Woodhouse is the first Austen heroine with no financial concerns, which, she declares to the naïve Miss Smith, is the reason that she has no inducement to marry. This is a great departure from Austen's other novels, in which the quest for marriage and financial security are often important themes in the stories. Emma's ample financial resources put her in a much more privileged position than the heroines of Austen's earlier works, such as Sense and Sensibility and Pride and Prejudice. Jane Fairfax's prospects, in contrast, are bleak.
In contrast to other Austen heroines Emma seems immune to romantic attraction. Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma shows no romantic interest in the men she meets. She is genuinely surprised (and somewhat disgusted) when Mr. Elton declares his love for her—much in the way Elizabeth Bennet reacts to the obsequious Mr. Collins, also a parson. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. Notably too, Emma utterly fails to understand the budding affection between Harriet Smith and Robert Martin; she interprets the prospective match solely in terms of financial settlements and social ambition. It is only after Harriet Smith reveals her interest in Mr. Knightley that Emma realises her own feelings for him.
While Emma differs strikingly from Austen's other heroines in these two respects, she resembles Elizabeth Bennet and Anne Elliot, among others, in another way: she is an intelligent young woman with too little to do and no ability to change her location or everyday routine. Though her family is loving and her economic status secure, Emma's everyday life is dull indeed; she has few companions her own age when the novel begins. Her determined though inept matchmaking may represent a muted protest against the narrow scope of a wealthy woman's life, especially that of a woman who is single and childless.
Emma, or the banality of the real world[edit]
Populated by small "minute detail" (to borrow the term from Sir Walter Scott), very realistic but anodyne, the novel disoriented a number of Jane Austen's contemporaries by its immersion in the daily life of a small town, and with the corresponding absence of spectacle. We see, for example, Emma accompanying Harriet to Mr. Ford's haberdashery and, while her friend gets on with her shopping, she posts herself at the door to observe the spectacle of the street:

[...] the butcher with his tray, a tidy old woman travelling homewards from shop with her full basket, two curs quarrelling over a dirty bone, and a string of dawdling children round the baker's little bow-window eyeing the gingerbread [...].[3]
We find the centre of Highbury life in Mr. Ford's shop. It is there, for example, that Harriet Smith meets her admirer, Robert Martin (volume II, chapter III). Also, convinced of the importance of the place, Frank Churchill declares:

that I may prove myself to belong to the place, to be a true citizen of Highbury, I must buy something at Ford's[4] (volume II, chapter VI).
Adaptations[edit]
Emma has been the subject of many adaptations for film, TV, radio and the stage.
Film adaptions: 1995: Clueless, a loose American modern adaptation of the novel, set in Beverly Hills and starring Alicia Silverstone as Cher Horowitz (Emma)[5][6]
1996: Emma, an American comedy starring Gwyneth Paltrow as Emma
2010: Aisha, an Indian modern adaptation of the novel, starring Sonam Kapoor as Aisha (Emma)
TV adaptions: 1948: Emma, live BBC TV broadcast, starring Judy Campbell (who also wrote the screenplay) as Emma, and directed and produced by Michael Barry[7]
1954: Emma, live NBC TV broadcast, starring Felicia Montealegre as Emma[7]
1957: Emma, another live NBC TV broadcast in their Matinee Theater series, starring Sarah Churchill as Emma[7]
1960: Emma, live BBC TV serial in six parts, starring Diana Fairfax as Emma and directed by Campbell Logan[7]
1960: Emma, live CBS TV broadcast in their Camera Three series, starring Nancy Wickwire as Emma.[7]
1972: Emma, a six-part BBC miniseries, starring Doran Godwin as Emma
1996: Emma, an ITV TV film, starring Kate Beckinsale as Emma
2009: Emma, a four-part BBC miniseries, starring Romola Garai as Emma
Recent stage adaptions: 1991: Emma, a stage adaption by British playwright Michael Fry, first produced by the Cloucester Stage Company in 1991, and since then produced by a number of theatre companies in Britain and the US[8][9]
2000: Emma, a musical written by Stephen Karam and first showed by the Brownbrokers student theatre group at Brown University under the direction of Darius Pierce.[10] In 2004 Karam's musical was played at the New York Musical Theatre Festival under the direction of Patricia Birch.[11]
A theatrical adaptation by Michael Napier Brown was performed at the Royal Theatre in Northampton in 2000[12]
2007: Jane Austen's Emma – A Musical Romantic Comedy, a musical written by Paul Gordon, which premiered at TheatreWorks in Menlo Park, California.[13] This musical has since been performed at the Cincinnati Playhouse, The Repertory Theatre of St. Louis and the Old Globe Theatre in San Diego.[7]
2007: Emma, a musical written by Joel Adlen, and directed by Terry Berliner at the New York Musical Theatre Festival[14]
2009: Emma, a stage adaption by Peter Mimmack for touring British theatre company Heartbreak Productions[15]
2009: Emma, a stage adaption by Rachel Atkins for the Book-It Repertory Theatre in Seattle, directed by Marcus Goodwin with Sylvie Davidson in the title role[7][16]
2010: Emma, a stage adaption by Michael Bloom at the Cleveland Play House, Ohio[17]
2012: Emma, a stage adaption by Dr. Vicki Ooi of the Absolutely Fabulous Theatre Connection in Sai Wan Ho, Hong Kong[18]
Internet adaptions: 2013: Emma Approved, a web show on YouTube by the creators of Emmy-winning The Lizzie Bennet Diaries.[19]

Popular culture[edit]
The novel Emma is featured in the 1993 film Naked by Mike Leigh, in which the character Johnny (played by David Thewlis) confuses the title and the name of the author.
Joan Aiken wrote a companion novel, Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma.
See also[edit]

Portal icon Jane Austen portal
Portal icon Novels portal
Illegitimacy in fiction
Notes[edit]
1.Jump up ^ Austen-Leigh, James Edward. A Memoir of Jane Austen. 1926. Ed. R. W. Chapman. Oxford: Oxford University Press, 1967. p. 157
2.^ Jump up to: a b Todd, Janet (2006). The Cambridge Introduction to Jane Austen. Cambridge University Press. p. 94. ISBN 978-0-521-85806-9.
3.Jump up ^ Quote from Adela Pinch, (Jane Austen 2008, p. xxii), "Introduction"
4.Jump up ^ Quote Adela Pinch, (Jane Austen 2008, p. xii), "Introduction"
5.Jump up ^ Mazmanian, Melissa. "Reviving Emma" in a Clueless World: The Current Attraction to a Classic Structure. Persuasions Online: Occasional Papers No. 3. Fall 1999. Jane Austen Society of North America website. Accessed 12 November 2013.
6.Jump up ^ Stern, Lesley. "Emma in Los Angeles" Clueless as a remake of the book and the city. Australian Humanities Review website, 1997. Accessed 12 November 2013.
7.^ Jump up to: a b c d e f g The Emma Adaptations Pages: Other Versions. Retrieved 27 December 2011
8.Jump up ^ "The Emma Adaptations Pages: Emma by Michael Fry". Retrieved 27 December 2011
9.Jump up ^ Culturvulture November 2004: Emma at Aurora Theatre Company in Berkley
10.Jump up ^ The Providence, Phoenix, December 7, 2000: Emma Rewards. Retrieved 27 December 2011
11.Jump up ^ TheaterMania 2004: Emma (NYMF). Retrieved 27 December 2011
12.Jump up ^ 'Set Play' - Emma -Times Educational Supplement 25 February 2000
13.Jump up ^ Broadway World, August 17, 2007: "World Premiere Emma Steps into TheatreWorks 8/22". Retrieved 27 December 2011
14.Jump up ^ NYMTF: Emma 2007. Retrieved 27 December 2011
15.Jump up ^ Heartbreak Productions: Emma 2009. Retrieved 27 December 2011
16.Jump up ^ Seattle Times October 16, 2009: "Attention, Austen fans: Emma Comes to Book-It". Retrieved 27 December 2011
17.Jump up ^ Playbill 9 Feb 2010: "World Premiere of Emma Set to Bow at Cleveland Play House. Retrieved 27 December 2011
18.Jump up ^ "AFTEC". Aftec.hk. Retrieved 2012-07-22.
19.Jump up ^ http://www.tubefilter.com/2013/08/02/emma-approved-bernie-su-jane-austen-lizzie-bennet-diaries/
External links[edit]
 Wikisource has original text related to this article:
Emma

 Wikiquote has a collection of quotations related to: Emma
 Media related to Emma at Wikimedia Commons
Emma at Project Gutenberg
Chronology/Calendar for Emma
Emma study guide, quotes, themes, teaching guide
Emma audio book, public domain solo recording by Moira Fogarty at Internet Archive
Emma, free audio book at LibriVox
Emma, Easy to read text.


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Emma (1972 TV serial)
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Jane Austen's novel Emma (1815) was released as a six-part TV serial by the BBC in 1972.
This dramatization brings to life the wit and humour of Jane Austen's arguably finest novel Emma, recreating her most irritatingly endearing female character, of whom she wrote "no one but myself could like."
Emma presides over the small provincial world of Highbury with enthusiasm, but she will find that it is all too easy to confuse good intentions with self-gratification. The often insensitive, well-meaning, incorrigible Emma Woodhouse having engineered the marriage of governess, companion and friend Miss Taylor, now turns her attention towards making a match for Mr Elton, the local vicar, and her new protégée Harriet Smith. Her one voice of reason and restraint is Mr Knightley, who has known her since she was a child and who watches her behaviour with wry amusement and sometimes with real anger.
Cast and crew[edit]
Doran Godwin – Emma Woodhouse
John Carson – Mr Knightley
Donald Eccles – Mr Woodhouse
Constance Chapman – Miss Bates
Robert East – Frank Churchill
Ania Marson – Jane Fairfax
Ellen Dryden – Mrs Weston
Raymond Adamson – Mr Weston
Fiona Walker – Mrs Elton
Timothy Peters – Mr Elton
Debbie Bowen – Harriet Smith
John Alkin – Robert Martin
Mary Holder – Mrs Bates
Vivienne Moore – Williams
Amber Thomas – Patty
Hilda Fenemore – Mrs Cole
Norman Atkyns – Shop Assistant
Belinda Tighe – Isabella Knightley
Yves Tighe – John Knightley
The Tighe Family – The Knightley Children
Mollie Sugden – Mrs Goddard
Lala Lloyd – Mrs Ford
Marian Tanner – Betty Bickerton
Sam Williams – Gypsy Boy
Tom McCall, David Butt, Christopher Green – Musicians
Lennox Phillips – Script Editor
Geraldine Stephenson – Choreographer
Ken Westbury – Film Cameraman
Derek Medus – Sound
Clare Douglas – Film Editor
Joan Ellacott – Costume Designer
Pam Meager – Makeup
Richie Richardson – Lighting
Colin Dickson – Sound
Tim Harvey – Designer
Martin Lisemore – Producer
John Glenister – Director
Denis Costanduros – Dramatisation
External links[edit]

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Emma at the Internet Movie Database


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Emma (1996 TV film)
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Emma
Emma 1996 TV drama.jpg
DVD cover

Directed by
Diarmuid Lawrence
Produced by
Sue Birtwistle
Written by
Andrew Davies
Based on
Emma
 by Jane Austen
Starring
Kate Beckinsale
Samantha Morton
Mark Strong
Release dates
1996
Running time
107 minutes
Language
English
Budget
£2.5 million
Jane Austen's Emma is an adaptation of the 1815 novel of the same name. It was adapted for the British television network ITV in 1996, directed by Diarmuid Lawrence and dramatised by Andrew Davies, the same year as Miramax's film adaptation of Emma starring Gwyneth Paltrow. This production of Emma stars Kate Beckinsale as the titular character, and also features Samantha Morton as Harriet Smith and Mark Strong as Mr. Knightley.
Davies had recently adapted another Austen novel as the successful 1995 television serial Pride and Prejudice for BBC when he proposed to adapt the novel Emma for the network. BBC had already made such an agreement with another screenwriter however, leading Davies to approach ITV.
Emma received generally positive reviews from critics, who believed it to be superior to the 1996 Miramax film. Most focused on Beckinsale's performance as a positive highlight. It aired on ITV in late 1996 and garnered an estimated 12 million viewers. It also was broadcast on the American channel A&E in February 1997.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Filming
4 Themes and analysis
5 Release
6 Reception 6.1 Accolades
7 See also
8 References
9 External links

Plot[edit]
See also: Emma#Plot summary
Miss Emma Woodhouse of Hartfield lives in the small town of Highbury, and is young, pretty, and rich. Though she has decided she will never marry, Emma takes credit for matchmaking her friend and former governess, Miss Taylor, to the widower Mr. Weston. Emma decides to organize marriages for others of her acquaintance, despite friendly warnings not to meddle from Mr. Knightley, who is both an old friend, her brother-in-law, and the wealthy owner of Donwell Abbey. Emma resolves to marry her new friend, a pretty orphan named Harriet Smith, to the young parish priest Mr. Elton. This fails once Emma realizes to her horror that Elton desires to marry her instead.
New arrivals come to Highbury, including young orphan Miss Fairfax and Elton's new pretentious wife. Frank Churchill, the handsome son of Mr. Weston, also arrives generating interest and gossip. Emma, so sure of her ability to judge the feelings of others, believes that Frank wishes to marry her. Eventually the town discovers that Frank and Miss Fairfax have been secretly engaged, while Emma comes to recognize her true feelings for Mr. Knightley.
Cast[edit]
Kate Beckinsale — Emma Woodhouse
Bernard Hepton — Mr. Woodhouse
Mark Strong — George Knightley
Samantha Morton — Harriet Smith
Olivia Williams — Jane Fairfax
James Hazeldine — Mr. Weston
Samantha Bond — Miss Taylor/Mrs. Weston
Raymond Coulthard — Frank Churchill
Dominic Rowan — Mr. Elton
Lucy Robinson — Mrs. Elton
Prunella Scales — Miss Bates
Sylvia Barter — Mrs. Bates
Guy Henry — John Knightley
Dido Miles — Isabella Knightley
Alistair Petrie — Robert Martin
Production[edit]
Andrew Davies adapted Jane Austen's 1815 novel Emma for television. Previously, he was the screenwriter for the successful 1995 BBC TV serial Pride and Prejudice starring Jennifer Ehle and Colin Firth. Davies offered to adapt Emma for the BBC, but it had already commissioned Sandy Welch as screenwriter. Michael Wearing, BBC head of drama serials, stated "It was a very, very difficult situation. I had already commissioned Sandy Welch, one of our BBC writers, to do Emma. We really were in a fix."[1] In response, Davies and his team successfully made an offer to BBC's rival, ITV. Pride and Prejudice's entire production team reportedly joined Davies when he began adapting Emma.[2][1] It was his second adaptation of an Austen novel.[3]
The production reportedly cost £2.5 million, and was shot during the summer of 1996.[1]
Filming[edit]
Broughton Castle, Banbury — (Donwell Abbey)
Sudeley Castle, Gloucestershire — (Donwell Abbey exteriors)
Stanway House, Stanway, Cheltenham, Gloucestershire - (Donwell Abbey interior)
Trafalgar Park, Salisbury — (Hartfield)
Dorney Court, Dorney, Buckinghamshire — (Randalls)
Lacock, Wiltshire — (Highbury Village)
Thame Park, Oxfordshire — (Abbey Mill Farm, Hartfield interiors, etc.)
Themes and analysis[edit]
Film critics have studied Emma for its depiction of class. In a contribution for the 2007 book Literary Intermediality: The Transit of Literature Through the Media Circuit, Lydia Martin noted that unlike the 1995 film starring Paltrow, Davies' Emma displays a "realistic, or even naturalistic, approach by focusing on the lower classes in which Jane Austen never really took any interest."[4] Indeed, adds Carole Dole, "reminders of Highbury's class divisions are scattered throughout" the production. Davies provides social context with fleeting scenes of the lower classes in a neutral, educational way – unlike the 1995 film Persuasion, Emma does not encourage viewers to identify with the servants.[5]
Release[edit]
Emma was broadcast in late 1996 on ITV, garnering an estimated 12 million viewers.[6][7] Emma was also broadcast on the American channel A&E in February 1997.[8] It was released on DVD in 1999.
The adaptation re-aired in 2007, as part of ITV's Jane Austen Season,[9] and as part of PBS Masterpiece's Jane Austen marathon on March 23, 2008. It was also aired on 27 December 2008, as a series of Christmas "specials" on BBC One.
Reception[edit]
Many reviewers positively compared the TV drama to the 1996 feature film starring Paltrow. People's Tom Gliatto found it to be superior to the 1996 film, attributing this to Beckinsale's performance: "Paltrow played the part with a swanlike haughtiness. Beckinsale is vibrantly girlish and romantic. And she looks smashing in Empire-waist dresses."[10] Gliatto also positively commented on Davies' script for "captur[ing] not just Austen's light charm but the pinpricks of her social criticism."[10] Caryn James of The New York Times added that in a story with an unlikeable heroine, Beckinsale "walks [the] fine line beautifully... [She] is plainer looking than Ms. Paltrow's, and altogether more believable and funnier. She came to the role well prepared, after playing another socially self-assured comic figure in the recent film Cold Comfort Farm."[11] James also lauded the screenplay for doing "a deft job of letting viewers pick up the social cues that Emma misses" and for indicating why Emma and Knightley are well-suited for each other.[11]
Writing for The Washington Post, Megan Rosenfeld praised the production and especially saved positive comment for Beckinsale, whom she called perhaps "the best [Emma] of all" the previous adaptations of the novel. The actress, Rosenfeld opined, "looks at home in the dresses, cavernous houses and rolling countryside of Austen's 19th-century England, and yet seems modern in her alertness and in her way of not being intimidated by men. Her Emma gives you the confidence that any mischief she may get into can probably be undone."[12] Gerard Gilbert of The Independent agreed, writing that Beckinsale "has the right mixture of sassiness, nosiness and self-satisfaction."[13]
John Carman of the Los Angeles Daily News wrote that "at times, Emma "seems to be a Melrose Place for the drawing-room set." He also noted it to be "scrumptiously filmed," calling it "a feast for the eyes and a balm for the heart."[14] The Daily Herald however gave a negative review, and believed it was the worst of the three versions released. The reviewer still praised it for being "natural, faithful and likable," but criticized Strong as miscast. Davies, remarked the newspaper, "has written a pithy, direct Emma that, unlike his script for Pride and Prejudice, clocks in at a fraction of the time it takes to read the book."[15]
Accolades[edit]

Award
Category
Recipients and nominees
Result
British Academy Television Awards[16] Best Make Up/Hair Mary Hillman Nominated
Barcelona International Television Festival Best Fiction Mini-Series Emma Won
Primetime Emmy Awards[17][18] Outstanding Art Direction for a Miniseries or a Special Don Taylor (production designer), Jo Graysmark (art director), John Bush (set decorator) Won
Outstanding Costumes for a Miniseries, Movie or a Special Jenny Beavan Won
See also[edit]

Portal icon Jane Austen portal
Clueless — a derivative 1995 American comedy film
Aisha — a derivative 2010 Bollywood film
References[edit]
1.^ Jump up to: a b c Garner, Clare (July 14, 1996). "TV drama kings fall out over Jane Austen". The Independent. Retrieved March 10, 2013. (subscription required)
2.Jump up ^ Cohen, Julie (September 6, 1996). "Battle of the Bodice Rippers". Daily Mail. Retrieved March 10, 2013. (subscription required)
3.Jump up ^ Watson, Louise. "Jane Austen's Emma (1996)". BFI Screenonline. Retrieved March 10, 2013.
4.Jump up ^ Martin, Lydia (2007). "Jane Austen on Screen: Deference and Divergence". In Maddalena Pennacchia Punzi. Literary Intermediality: The Transit of Literature Through the Media Circuit. Peter Lang. p. 67. ISBN 3039112236.
5.Jump up ^ Dole, Carole M (2002). "Austen, Class, and the American Market". In Greenfield, Sayre N. Jane Austen in Hollywood. University Press of Kentucky. p. 71. ISBN 978-0-8131-9006-8.
6.Jump up ^ Gibson, Owen (November 10, 2005). "ITV calls in Jane Austen to halt slide in ratings". The Guardian. Retrieved March 10, 2013.
7.Jump up ^ "Three Jane Austen dramas for ITV". BBC News. November 10, 2005. Retrieved March 10, 2013.
8.Jump up ^ Greenfield, Sayre N.; Linda V. Troost (2001). Jane Austen in Hollywood. University Press of Kentucky. p. 1. ISBN 978-0-8131-9006-8.
9.Jump up ^ Irvine, Chris (September 14, 2009). "Jane Austen's recent adaptations". The Daily Telegraph. Retrieved March 10, 2013.
10.^ Jump up to: a b Gliatto, Tom (February 17, 1997). "Picks and Pans Review: Emma". People. Retrieved March 10, 2013.
11.^ Jump up to: a b James, Caryn (February 15, 1997). "An 'Emma' Both Darker And Funnier". The New York Times. Retrieved March 10, 2013.
12.Jump up ^ Rosenfeld, Megan (February 16, 1997). "`Emma'-nations of Life; A&E's Take on Austen's Matchmaker Rings True". The Washington Post. Retrieved March 10, 2013. (subscription required)
13.Jump up ^ Gilbert, Gerard (November 23, 1996). "Television preview". The Independent. Retrieved March 10, 2013. (subscription required)
14.Jump up ^ Carman, John (February 15, 1997). "'Emma' a thoughtful, visual feast". Los Angeles Daily News. Retrieved March 9, 2013. (subscription required)
15.Jump up ^ Cox, Ted (February 14, 1997). "Welcome back, Emma; E's version isn't great - but it's definitely great fun". Daily Herald. Retrieved March 9, 2013. (subscription required)
16.Jump up ^ "Awards database". British Academy of Film and Television Arts. Retrieved 27 November 2012. Type in 1996 and television to perform search
17.Jump up ^ "Outstanding Costume Design for a Miniseries or a Special 1997". Academy of Television Arts & Sciences. Retrieved 27 November 2012.
18.Jump up ^ "Outstanding Art Direction for a Miniseries or a Special 1997". Academy of Television Arts & Sciences. Retrieved 27 November 2012.
External links[edit]
Emma at the Internet Movie Database


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Jane Austen's Emma


Characters
Emma Woodhouse ·
 George Knightley
 

Films
Clueless (1995) ·
 Emma (1996)  ("Silent Worship")
   ·
 Aisha (2009)
 

Television
Emma (1972) ·
 Clueless (1996) ·
 Emma (1996) ·
 Emma (2009)
 

See also
Jane Austen in popular culture
 

PortalJane Austen Portal


 


Categories: English-language films
1996 television films
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ITV television dramas
Television programmes based on works by Jane Austen
Films set in England
Pinewood Studios films
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Emma (2009 TV serial)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Emma


EmmaRomolaGaraiDVD.jpg

Genre
Costume drama
Written by
Jane Austen (novel)
Sandy Welch
Directed by
Jim O'Hanlon
Starring
Romola Garai
Jonny Lee Miller
Michael Gambon
Tamsin Greig
Rupert Evans
Robert Bathurst
Jodhi May
 Louise Dylan
Blake Ritson
Christina Cole
Laura Pyper
Composer(s)
Samuel Sim
Country of origin
United Kingdom
No. of episodes
4
Production

Executive producer(s)
Phillippa Giles
Producer(s)
George Ormond
Broadcast

Original channel
BBC One
Picture format
576i SDTV
Original run
4 – 25 October 2009
External links
Website
Emma is a four-part BBC television drama serial adaptation of Jane Austen's novel Emma, first published in 1815. The episodes were written by Sandy Welch, acclaimed writer of previous BBC costume-dramas Jane Eyre and North & South, and directed by Jim O'Hanlon. The serial stars Romola Garai as the titular heroine Emma Woodhouse, Jonny Lee Miller as her loyal lifelong friend Mr. Knightley and Michael Gambon as Emma's father, Mr. Woodhouse. The serial originally ran weekly on Sunday nights on BBC One from the 4 to 25 October 2009.[1]


Contents  [hide]
1 Plot
2 Cast and characters 2.1 Primary characters
2.2 Secondary characters
3 Production 3.1 Filming
4 Episodes
5 Critical reception 5.1 Accolades
6 Soundtrack
7 References
8 External links

Plot[edit]
For an in-depth account of the plot, See Main Article: Emma
Austen's classic comic novel follows the story of the "handsome, clever and rich" Emma Woodhouse. Dominating the small provincial world of Highbury, Emma believes she is a skilled matchmaker and repeatedly attempts to pair up her friends and acquaintances. Nothing delights her more than meddling in the love lives of others. But when she takes protege Harriet Smith under her wing, her interference has a detrimental effect.
Brought up sharply against the folly of her own immaturity, the consequent crisis and her bitter regrets are brought to a happy resolution in a sharp and sparkling comedy of self-deceit and self-discovery.
Cast and characters[edit]
Primary characters[edit]
Romola Garai as Emma Woodhouse - In Austen's opening lines of the novel: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." Emma has no need to marry, being head of her own household, and having plenty of money, but she delights in matchmaking those around her — and credits herself with being very good at it, despite Mr Knightley's scepticism.
Jonny Lee Miller as Mr. George Knightley - Mr Knightley is Emma's only social and intellectual equal in Highbury, living at Donwell Abbey, a rambling country estate a short walk from Hartfield. He has known Emma since she was a baby, and there's an easy familiarity between them. He is an individual, quick-witted, with a dry sense of humour — often used in sparring with Emma. But he also has a strong moral compass — and at times he strongly disagrees with Emma over her behaviour.
Michael Gambon as Mr. Woodhouse - Mr Woodhouse is described by Austen as a valetudinarian — old before his time. He lost his wife when his two daughters were very young, and has developed an extremely nervous disposition. He is a loving and kind father, but he worries constantly, especially about health. He hardly ever leaves Hartfield, and hates the thought of Emma ever leaving him.
Louise Dylan as Harriet Smith - Harriet is a parlour boarder at Mrs Goddard’s School. She has been sent there to be educated by her father, who remains anonymous, because Harriet is his “natural daughter” — i.e., she’s illegitimate. Being a parlour boarder means that she has stayed on at the school to help out with the other girls. She’s pretty, but in reality, she has little prospect of marrying a gentleman. Emma, however, is sure that Harriet’s anonymous father must be a gentleman, and takes her under her wing.
Jodhi May as Anne Taylor/Weston - Anne has been Emma’s governess since her mother died when Emma was a baby. More like a sister than a governess, Anne is wise and caring, but devoted to Emma and perhaps a little indulgent. When she marries Mr Weston, she is worried about leaving Emma on her own at Hartfield.
Robert Bathurst as Mr. Weston - Mr Weston is an eternal optimist, despite the fact that his life has not always run smoothly. He married young, to a woman who spent all his money, who was disowned by her family, and then died, leaving him with Frank, his two-year-old son. He agreed for Frank to be adopted by his wife’s estranged sister, who insisted that he change his name to Frank Churchill. Frank has lived in the lap of luxury ever since.
Rupert Evans as Frank Churchill- Frank is a ball of energy, charming, mischievous, and spoilt. He has been kept at his manipulative aunt’s beck and call for most of his life, and often seems to be called back to her bedside whenever he ventures away — although it is never entirely clear whether this is just a convenient excuse for not visiting Highbury and his father. At his worst, he could be a rogue — and he seems to delight in gossiping about Jane Fairfax.
Laura Pyper as Jane Fairfax - Jane's parents died when she was a toddler. Her aunt, Miss Bates, and grandmother Mrs Bates sent her from Highbury to live with the Campbells, who could offer greater advantages. Captain Campbell knew she would be a good companion for his only daughter, Miss Campbell. Ever since, Jane has excelled at everything a girl should, and Miss Bates has bored Emma rigid with Jane’s virtues at every opportunity. Now Jane has reached the age where she must leave the Campbells and return to Highbury — but what is the real reason for her return?
Tamsin Greig as Miss Bates - Miss Bates is the daughter of the former vicar of Highbury, who died many years ago. She has never married, and now never will. Without a husband to provide an income, she faces ever-increasing poverty. Despite her woes, Miss Bates has a perennially cheerful disposition. She fills any silence with incessant talk.
Valerie Lilley as Mrs. Bates - Where Miss Bates talks non stop, her aged mother, Mrs Bates, never speaks. She sits quietly in the corner of the room, or is wheeled from place to place by Miss Bates, revealing very little of what she really thinks of their situation.
Blake Ritson as Mr. Elton - Mr Elton is the vicar of Highbury. In the early 19th century, the post of vicar could be given, inherited, or bought, and conferred a certain social status as well as an annual income. Mr Elton is a dashing young man, aware of his status in the village, and his eligibility. He’s charming — perhaps, at times, a little too charming.
Christina Cole as Augusta Elton - Mrs Elton is rich, and a good catch for Mr Elton in many ways. But she’s also vulgar and interfering, and one-upmanship is second nature to her. She arrives in Highbury keen to prove her social standing, and immediately puts Emma’s nose out of joint.
Secondary characters[edit]
John Knightley — Dan Fredenburgh
Isabella Knightley — Poppy Miller
Robert Martin — Jefferson Hall
Mrs Goddard — Veronica Roberts
Mrs Cole — Liza Sadovy
Miss Martin 1 — Eileen O'Higgins
Miss Martin 2 — Sarah Ovens
Mrs Churchill — Susie Trayling
Mr Dixon — Frank Doody
Miss Campbell / Mrs Dixon — Amy Loughton
Production[edit]
Filming[edit]
Principal photography commenced with a four-day shoot in the Kent village of Chilham from 14 to 18 April 2009. Production design staff covered several roads with gravel to disguise the 21st-century road markings, and erected a fountain in the village square.[2] Filming occurred from 8 a.m. to 7 p.m. every day and was scheduled to coincide with the Easter school holiday to minimise local disruption.[3] Filming continued at the parish church of St Mary the Virgin in Send, Surrey on 24 and 28 April, where scenes of a wedding and a Sunday service were completed.[4] Further filming took place at Squerryes Court, Westerham, Kent where many interior scenes were shot.[5] The scene that shows Emma and Harriet Smith on their way to visit the poor was filmed in Hatfield, Hertfordshire, England. The church they pass along the wooded path is St. Etheldreda Church of England.
Episodes[edit]

#
Title
Writer
Director
Original Airdate
Viewership #

1
"Episode One" Sandy Welch Jim O'Hanlon 4 October 2009 4.38m (overnight)[6] 4.84 (final)[7]
Rich, independent and kind-spirited, Emma Woodhouse has no need to marry, but nothing delights her more than matchmaking those around her. Once she has married off her close companions, she alights upon the pretty Harriet Smith to fashion into her new playmate and ally.
She persuades Harriet that she is too good for her suitor, the farmer Robert Martin, and encourages her to set her sights higher. But close family friend Mr Knightley warns Emma that her meddling will cause great pain - to both Robert and Harriet. Emma refuses to listen, and Mr Knightley is furious at Emma's stubbornness. 
2
"Episode Two" Sandy Welch Jim O'Hanlon 11 October 2009 3.55m (overnight)[8] 4.12 (final)[7]
Emma continues her attempts to marry off Harriet and Mr Elton, vicar of Highbury. Although uninterested in marriage herself, she is intrigued by the mysterious and elusive Frank Churchill, who she hopes to meet for the first time at a village Christmas party. Frank does not arrive, and instead Emma becomes the subject of unwanted and embarrassing attention from Mr Elton.
A few weeks later, village gossip and speculation focuses on the arrival of young Jane Fairfax and a large piano she has been sent by a mystery admirer. Emma refuses to believe that Mr Knightley could be the secret admirer. He couldn't be, could he? 
3
"Episode Three" Sandy Welch Jim O'Hanlon 18 October 2009 3.32m (overnight)[9]
Emma teases Mr Knightley about Jane, but he remains tight-lipped. Meanwhile, Frank and Emma plan a ball, and Emma wonders whether she might be in love with him. Despite having a wonderful time at a village ball, she decides not.
With her matchmaking officially abandoned, Emma feels cooped up and bored, so Mr Knightley suggests a day trip to Box Hill for a change of scene and some temporary escape. He also tells Emma that he suspects Frank and Jane to be secretly in love. Emma rebuffs the suggestion - she can personally vouch for Frank's indifference to Jane - which leaves Knightley feeling hurt at Emma's indifference towards him. 
4
"Episode Four" Sandy Welch Jim O'Hanlon 25 October 2009 3.66m (overnight)[10]
What was intended as a day of fun turns into a day of agony for everyone on the Box Hill excursion.
Things come to a head when, egged on by Frank, Emma behaves badly, insulting Miss Bates. She is berated by Knightley, and realises that her behaviour was shameful. She tries to repair things with Jane and Miss Bates, but Jane will not see her - although Miss Bates tells her that Jane has accepted a job as a governess, and cried all night.
Meanwhile, Knightley goes to stay with his brother in London, and will be away for a while. When Frank's controlling aunt dies, the Westons expect him to propose to Emma - but his actions set in motion a chain of events that both shock Emma and make her realise something that has been in plain sight all along. 
Critical reception[edit]
The serial received mixed reviews from critics.
Reviewing the first episode, Sam Wollaston of The Guardian called it "very good... even if it's not necessary", wishing the BBC would adapt some lesser-known novels rather than churning out the same adaptations again and again. He nevertheless praised the acting, suggesting Garai's "eyes alone deserve a BAFTA" and that Michael Gambon made "a splendid old Mr. Woodhouse".[11]
John Preston of The Telegraph also noted Romola Garai as "particularly good" in the titular role, and noted that while Jim O Hanlon's direction was perhaps a little too "steady and sure" there was still "plenty of sprightliness there too".[12] After the third episode of the series, however, he wrote that "[it] was a disaster, becoming ever more coarse and clumsy as it went on. The narration was obtrusive, the charm next to non-existent and the secondary characters insufficiently delineated." Emma he deemed "too bovine, too cocksure" in order for her to be truly in doubt. He did not find that Jonny Lee Miller, "who could have been a first-class Mr Knightley, was given "enough screen time to make an impact". He concluded: "Contrivance ha[d] taken over. Sprightliness ha[d] disappeared. The soufflé ha[d] fallen."[13]
Tom Sutcliffe of The Independent wrote in a review that "the primary-colour brightness seems to have carried over into some the performances." He found that Garai "[did]n't capture the sense of frustrated intelligence that makes Emma bearable on the page", but blamed the script for it. He also saw a casting problem with Emma and Knightley in the sense that Miller "still carrie[d] too much of the seductive bad boy about him" so that he was not convincing as a "surprising love object", and "that threatens one of the novel's great achievements, which is to educate us alongside its heroine." [14]
Some critics also noted the dip in ratings following the first episode. In The Independent, Jonathon Brown observed that while "the critics have given it a qualified nod of approval" the second installment of the serial "pulled in only 3.5 million viewers – down nearly 1 million on the opening episode the previous week – while the third episode saw another 200,000 switch off". He suggests this may be due to the "13 million-strong audience from ITV1's all-conquering X Factor" which had launched a Sunday night results show for the first time, or that "the days of bonnet and bustle are [simply] over".[15]
Accolades[edit]

Award
Category
Recipients and nominees
Result
Golden Globes[16] Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television Romola Garai Nominated
Primetime Emmy Awards Outstanding Hairstyling for a Miniseries or a Movie Anne Oldham Won
Outstanding Casting for a Miniseries, Movie or a Special Gemma Hancock (casting director), Sam Stevenson (casting director) Nominated
Outstanding Costumes for a Miniseries, Movie or a Special Rosalind Ebbutt (costume designer), Amanda Keable (costume supervisor) Nominated
Outstanding Supporting Actor in a Miniseries or a Movie Michael Gambon Nominated
Royal Television Society Best Music, Original Score Samuel Sim Nominated
Satellite Awards Best Miniseries Emma Nominated
Soundtrack[edit]
The original soundtrack with music composed by Samuel Sim was released on 8 December 2009 and features numerous themes featured in the series, including music from the dance sequences during the ball at the Crown Inn. A track listing for the album is as follows:
1."Emma Main Titles"
2."Emma Woodhouse Was Borne"
3."Expansion Project"
4."Rescued from the Gypsies"
5."A Ball"
6."Knightley's Walk"
7."Dolls"
8."The World Has Left Us Behind"
9."Arrival of Little Knightley"
10."Donwell Dancing Again"
11."Superior Men"
12."Matchmaker"
13."Walk of Shame"
14."Playing Harriet"
15.Without Suspicion"
16."Frank Is Free"
17."Mr. Elton"
18."Blind Endeavours"
19."The Last Dance"
20."Lost and Found"
21."Only People We Like"
22."The Ship's Cook"
23."Cliff Tops"
24."Secrets"
25."It's Snowing and Heavily"
26."The Seaside"
27."Love Story"
28."Most Ardently In Love"
References[edit]
1.Jump up ^ BBC Press Office (4 April 2009). "Casting announced for BBC One's Emma this Autumn". Press release. Retrieved on 6 April 2009.
2.Jump up ^ Staff (8 April 2009). "BBC's Emma to start filming in Chilham next week". yourcanterbury.co.uk (KOS Media). Retrieved on 12 April 2009.
3.Jump up ^ "Stop Press: BBC Film Emma In The Square". Chilham Parish Council. Retrieved on 12 April 2009.
4.Jump up ^ "St Mary's church, Send, Woking, Surrey UK". Sendparishchurch.co.uk. Retrieved 2012-11-10.
5.Jump up ^ Adam Williams (2 October 2009). "A classic setting". Kent Messenger (What's on section, p3).
6.Jump up ^ "12.4 million see 'X Factor' top 12 unveiled - X Factor News - Reality TV". Digital Spy. 2009-10-05. Retrieved 2012-11-10.
7.^ Jump up to: a b "Weekly Top 30 Programmes". Barb.co.uk. 2012-10-28. Retrieved 2012-11-10.
8.Jump up ^ "'The X Factor' hits new series high - X Factor News - Reality TV". Digital Spy. 2009-10-12. Retrieved 2012-11-10.
9.Jump up ^ "Cole, Houston boost 'X Factor' ratings - X Factor News - Reality TV". Digital Spy. 2009-10-19. Retrieved 2012-11-10.
10.Jump up ^ "Miss Frank's 'X Factor' exit draws 13.4m - X Factor News - Reality TV". Digital Spy. 2009-10-26. Retrieved 2012-11-10.
11.Jump up ^ Wollaston, Sam (5 October 2009). "Emma". The Guardian (London). Retrieved 2 May 2010.
12.Jump up ^ "Emma - Criminal Justice - When Boris Met Dave: TV review John Preston reviews BBC One's new Jane Austen adaptation Emma, the new series of Criminal Justice starring Maxine Peake, plus More4's real life-inspired drama When Boris Met Dave.". The Daily Telegraph (London). 9 October 2009. Retrieved 2 May 2010.
13.Jump up ^ "Emma, BBC One, review John Preston reviews the penultimate episode of BBC One's Jane Austen adaptation Emma.". The Daily Telegraph (London). 23 October 2009. Retrieved 2 May 2010.
14.Jump up ^ Sutcliffe, Tom (5 October 2009). "The Weekend's Television: Emma, Sun, BBC1 Monty Python – Almost the Truth: the BBC Lawyers' Cut, Sat, BBC2". The Independent (London). Retrieved 2 May 2010.
15.Jump up ^ "Costume drama: past it?". The Independent (London). 22 October 2009. Retrieved 2 May 2010.
16.Jump up ^ "List of nominees for the Golden Globe Awards". Associated Press. 14 December 2010. Retrieved 27 November 2012. (subscription required)
External links[edit]

Portal icon Jane Austen portal
Emma at BBC Programmes
Emma - Behind the Scenes - BBC One. Video on BBC's YouTube channel
Emma at the Internet Movie Database
Emma at PBS Online
Filming of Jane Austen's Emma For BBC1 — photograph set on Flickr
Photos of Emma being filmed in Chilham Kent
Emma CD soundtrack information


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Clueless (TV series)
From Wikipedia, the free encyclopedia
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 This article reads like an editorial or opinion piece. Please help improve this article by rewriting it in an encyclopedic style to make it neutral in tone. See WP:No original research and WP:NOTOPINION for further details. (March 2011)

Clueless
CluelessCast.jpg
The main characters of Clueless, (from left to right), Amber, Sean, Dionne, Murray, and Cher.

Genre
Sitcom
Format
Comedy-drama
Created by
Amy Heckerling
Starring
Rachel Blanchard
Stacey Dash
Elisa Donovan
Donald Faison
Sean Holland
Theme music composer
Charlotte Caffey
Anna Waronker
Opening theme
"Ordinary Girl",
 performed by China Forbes
Country of origin
United States
Original language(s)
English
No. of seasons
3
No. of episodes
62 (List of episodes)
Production

Executive producer(s)
Amy Heckerling (season 1)
 Tim O'Donnell (seasons 2-3)
Camera setup
Film; Single-camera
Running time
approx. 23 minutes
Production company(s)
Cockamamie Pictures
Paramount Network Television
Distributor
Paramount Domestic Television (2000-2006)
CBS Paramount Domestic Television (2006-2007)
CBS Television Distribution (2007-present)
Broadcast

Original channel
ABC (1996-1997)
UPN (1997-1999)
Picture format
480i (SDTV)
Original run
September 20, 1996 – May 25, 1999
Clueless is a television series spun off from the 1995 teen film of the same name (which was inspired by the Jane Austen book Emma). The series originally premiered on ABC on September 20, 1996 as a part of the TGIF lineup during its first season. The show then spent its last two seasons on UPN ending on May 25, 1999.


Contents  [hide]
1 Synopsis 1.1 Differences between the movie and the TV series
2 Network change
3 Cast and characters 3.1 Main
3.2 Recurring
4 Episodes 4.1 U.S. television ratings
4.2 Crossovers 4.2.1 Moesha crossover
4.2.2 Sabrina, the Teenage Witch crossover

5 Syndication
6 References
7 External links

Synopsis[edit]
Rachel Blanchard played the role of Cher that was originated by Alicia Silverstone in the movie. Stacey Dash (Dionne), Donald Faison (Murray), Elisa Donovan (Amber), Wallace Shawn (Mr. Hall), and Twink Caplan (Ms. Geist) all reprised their movie roles for the television series. Sean Holland, who appeared as Lawrence in the movie, portrayed the new character Sean Holiday in the TV series. The program aired on ABC from 1996 to 1997 and with a network change on UPN from 1997 to 1999. The theme song for the TV series, "Ordinary Girl", was written by Charlotte Caffey (of the Go-Go's) and Anna Waronker, and was performed by China Forbes.
Differences between the movie and the TV series[edit]
There are several notable inconsistencies in both characters and storylines between the Clueless film and the subsequent television series.
Cher was considerably more selfish and less optimistic in the film than she was in the series, where she was portrayed as more naturally caring and positive.
In addition to Rachel Blanchard as Cher, two other major roles were recast for the television series. For example, when the Clueless series began, the role of Cher's father Mel, the part Dan Hedaya originated in the film, was portrayed by Michael Lerner and was again recast with Doug Sheehan by the beginning of the show's second season on the air. At this time, Mel had grown significantly more mellow and humane than the character Hedaya had originated.
David Lascher took over the role of Josh from Paul Rudd in the television series, and the idea of having the character serve as a romantic interest for Cher was almost non-existent in the TV version of the plot, while it was a major plot in the original film. By the time the show moved to UPN, Josh was written out of the series entirely. Mr. Hall and Ms. Geist suffered this same fate and were also gone from the show by the time it switched networks.
Julie Brown's character in the original film was Coach Millie Stoeger, but in the television series, her character's name was changed to Coach Millie Diemer. In addition, Sean Holland, who only had a very minor role in the film as Murray's friend Lawrence, was playing a new character named Sean Holiday. Regardless, Holland's character had significantly more exposure on the television series (and was considered one of its stars) than the character of Tai Frasier (who was also recast with Heather Gottlieb when Brittany Murphy opted not to reprise the role), who only appeared in three episodes of the show, despite being considered one of the main characters in the film. The gay character of Christian, played by Justin Walker, was not included in the television series at all. Amy Heckerling, who wrote and directed the film, also wrote and directed several episodes of the show's first season, but did not remain on board with the series full-time.
Although they did not reprise their original roles of Josh, Travis and Tai, actors Breckin Meyer, Paul Rudd and Brittany Murphy all made guest appearances in one episode each on the series as new characters: Meyer portrayed Harrison in the episode "Do We with Bad Haircuts Not Feel?" Rudd portrayed the character of Sonny in the episode "I Got You Babe". And Murphy played the character Jasmine in the episode "Driving Me Crazy".
The band Luscious Jackson, who performed the catchy dance song "Here" for the Clueless movie soundtrack also guest starred on the series in the episode "Sharing Cher" in order to perform their song "Naked Eye."
A few of the show's first season episodes were broadcast out of order. The first episode to be broadcast was "As If a Girl's Reach Should Exceed Her Grasp" on September 20, 1996. The actual pilot episode, "Don't Stand So Close to Me," aired later on November 1, 1996.
Network change[edit]
After the series was canceled by ABC, the reruns of the episodes (on their Friday night TGIF line-up) proved to be ratings winners for ABC. However, it was too late for ABC to get the series back, and they prevented UPN from broadcasting the series until their contract ran out in late September. Clueless finished #46 in the ratings with 13.3 million viewers. Only Sabrina, the Teenage Witch (a show for which Elisa Donovan and David Lascher would eventually become regulars) had higher ratings for Friday. Reportedly the star of Sabrina, Melissa Joan Hart, was considered for the part of Cher on the Clueless TV series.
The writing and style of the first season on ABC has been considered to be more relaxed, confident, and slow paced, while the UPN version of the show had a quicker, sassy, off-the-cuff, and celebrity-reference filled style (Some fans even feel that the UPN episodes were more in touch with the style of the movie). UPN cancelled the show after the third season (1998–1999) reportedly because of increasingly dwindling viewership. By the last season, they had about 30% of the viewers left who were still watching the show when it began on ABC in 1996.
Cast and characters[edit]
Main article: List of Clueless characters
Main[edit]
Rachel Blanchard as Cher Horowitz
Stacey Dash as Dionne Davenport
Elisa Donovan as Amber Mariens
Donald Faison as Murray Duvall
Sean Holland as Sean Holiday
David Lascher as Josh (Season 1)
Wallace Shawn as Mr. Alphonse Hall (Season 1)
Twink Caplan as Mrs. Geist-Hall (Season 1)
Michael Lerner as Mel Horowitz #1 (Season 1)
Doug Sheehan as Mel Horowitz #2 (Season 2-3)
Reportedly, Alicia Silverstone was asked to reprise her role before she turned it down in order to focus on her blossoming film career.
Recurring[edit]
Danny Strong as Marshall Gasner
Julie Brown as Coach Millie Deemer
Episodes[edit]
Main article: List of Clueless episodes
U.S. television ratings[edit]

Season
Season premiere
Season finale
TV season
Ranking
Viewers
 (in millions)
1st September 20, 1996 February 14, 1997 1996–1997
#52[1]
8.6[1]
2nd September 23, 1997 May 19, 1998 1997–1998
#148[2]
3.6[2]
3rd October 6, 1998 May 25, 1999 1998–1999
#141[3]
2.8[3]

Crossovers[edit]
Moesha crossover[edit]
See also: Moesha
In a Halloween-themed episode[4] spoofing the popular Scream films, Cher, Dionne and Amber try to catch a stalker. Later, Amber hints at a Moesha crossover after calling out Moesha's name when the girls are looking for Murray and Sean. Shar Jackson and Lamont Bentley also appeared in a later episode reprising their Moesha characters. The crossover was designed to promote Brandy's upcoming film I Still Know What You Did Last Summer.
Sabrina, the Teenage Witch crossover[edit]
See also: Sabrina, the Teenage Witch (TV series)
During the Season 1 episode "Mr. Wright",[5] Melissa Joan Hart makes a brief cameo appearance playing Sabrina Spellman, her character on the high rating Sabrina, the Teenage Witch (although she is not mentioned by name). At the end of the episode, Cher and Sabrina walk out of a building together and Cher seems confused that Sabrina has allegedly attended Bronson Alcott High School since September of that year. Cher had never seen Sabrina before even though she (Cher) knows everyone. Sabrina then says, "What Cher, you think I just snapped my fingers and magically appeared? As if!" With Cher's back turned, Sabrina snaps her fingers and disappears, completely baffling Cher.
Syndication[edit]
Clueless entered syndication in Fall 2000 along with Sabrina, the Teenage Witch, Moesha and 7th Heaven, all of which are owned by CBS Television Distribution. It was the only series out of the four that was not picked up for a second season of syndication.
Reruns later aired on Nickelodeon and then The N until September 2009.
In Canada, it airs weekdays at 2:30 pm on MuchMusic, following Sabrina reruns.
In New Zealand, it airs on Saturday and Sundays at 5:30pm on FOUR, following Sabrina reruns.
References[edit]
1.^ Jump up to: a b "Complete TV Ratings 1996-1997". Retrieved 02-12-2010.
2.^ Jump up to: a b "The Final Countdown". Entertainment Weekly Published in issue #434 May 29, 1998. May 29, 1998. Retrieved 02-12-2010.
3.^ Jump up to: a b "TV Winners & Losers: Numbers Racket A Final Tally Of The Season's Show (from Nielsen Media Research)". GeoCities. June 4, 1999. Archived from the original on 2009-10-29. Retrieved 02-12-2010.
4.Jump up ^ Scream Again Murray, Scream Again! (2)
5.Jump up ^ Mr. Wright
External links[edit]
Clueless at the Internet Movie Database
Clueless at TV.com


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Emma (1996 theatrical film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Emma
Emma1996.jpg
Theatrical release poster

Directed by
Douglas McGrath
Produced by
Patrick Cassavetti
 Steven Haft
Screenplay by
Douglas McGrath
Based on
Emma
 by Jane Austen
Starring
Gwyneth Paltrow
Jeremy Northam
Alan Cumming
Toni Collette
Ewan McGregor
Music by
Rachel Portman
Cinematography
Ian Wilson
Editing by
Lesley Walker
Studio
Matchmaker Films
 Haft Entertainment
Distributed by
Miramax Films
Release dates
August 2, 1996

Running time
120 minutes [1]
Country
United Kingdom
 United States
Language
English
Budget
$7 million[2]
Box office
$22,231,658[3]
Emma is a 1996 period film based on the novel of the same name by Jane Austen. Directed by Douglas McGrath, the film stars Gwyneth Paltrow, Alan Cumming, Toni Collette, Ewan McGregor, and Jeremy Northam.


Contents  [hide]
1 Plot
2 Production 2.1 Conception and adaptation
2.2 Casting
2.3 Costume design
2.4 Music
3 Comparisons with the novel
4 Reception 4.1 Critical response
4.2 Accolades
5 See also
6 References
7 External links

Plot[edit]
The film describes a year in the life of Emma Woodhouse (Gwyneth Paltrow), a congenial but naïve young woman who thinks of herself as a romantic matchmaker in her small community in early-19th-century England. When her governess, Miss Taylor (Greta Scacchi), gets married and goes to live with her new husband, Mr Weston (James Cosmo), Emma proudly takes the credit for having brought the couple together. Her father and their old family friend George Knightley (Jeremy Northam) dispute her claim and disapprove of her trying to make more matches, but she ignores their warnings and sets her mind on setting up Mr Elton (Alan Cumming), the minister who performed the Westons' marriage ceremony, with Harriet Smith (Toni Collette), an unsophisticated young woman just entering society.
As a close friendship develops between Emma and Harriet, it becomes clear that Harriet is being courted by Robert Martin (Edward Woodall), a farmer who has known Harriet since she was a girl. When Mr Martin proposes to Harriet, she is inclined to accept, but she has come to rely heavily on Emma's advice, and Emma persuades her to reject the proposal. Meanwhile, Mr Elton has been expressing a desire for Emma by taking an interest in a picture she drew of Harriet and by giving her a riddle for a book of riddles being compiled by Harriet. Emma misinterprets this as interest in Harriet, but when Mr Elton and Emma are alone, he fervently declares his love for Emma herself, and she finally realizes her mistake. She harshly rejects his pleas, and he later marries another woman, who turns out to be a vain socialite who competes with Emma for status in the community.
Over the next few months, various gatherings show who loves whom among Emma's friends. Emma is briefly attracted to a charming, gallant young man named Frank Churchill (Ewan McGregor), Mr Weston's son who comes to visit from London, but Emma soon decides to set him up with Harriet. However, Frank is revealed to have a secret engagement with a shy, pretty woman named Jane Fairfax (Polly Walker). Harriet states that she has no interest in Frank, preferring Mr Knightley, who was the only man who would dance with her at a party. Mr Knightley only danced with Harriet out of politeness and has started to fall in love with Emma.
The conclusion of the story begins when Emma ridicules a poor woman named Miss Bates (Sophie Thompson) during a picnic, after which Mr. Knightley angrily scolds Emma and leaves town for a while. She finds herself thinking about him while he's away, but does not realize she loves him until Harriet expresses interest in him. When Mr Knightley returns, he and Emma cross paths in a meadow and have a conversation that begins awkwardly but ends with him asking her to marry him and her gladly accepting. The news of their engagement upsets Harriet, who avoids Emma for a while, but returns a few weeks later, engaged to Mr Martin. The film ends with Emma and Mr Knightley's wedding.
Production[edit]
Conception and adaptation[edit]
Douglas McGrath "fell in love" with Jane Austen's 1815 novel Emma, while he was an undergraduate at Princeton University. He believed the book would make a great film, but it was not until a decade later that he was given a chance to work on the idea.[4] After receiving an Academy Award nomination in 1995 for his work on Bullets Over Broadway, McGrath decided to make the most of the moment and took his script idea for a film adaptation of Emma to Miramax Films.[4] McGrath had initially wanted to write a modern version of the novel, set on the Upper East Side of New York City. Miramax's co-chairman, Harvey Weinstein, liked the idea of a contemporary take on the novel.[4] McGrath was unaware that Amy Heckerling's Clueless was already in production, until plans for Emma were well underway.[4]
Casting[edit]
McGrath decided to bring in American actress Gwyneth Paltrow to audition for Emma Woodhouse, after a suggestion from his agent and after seeing her performance in Flesh and Bone.[5] Of his decision to bring Paltrow in for the part, McGrath revealed "The thing that actually sold me on her playing a young English girl was that she did a perfect Texas accent. I know that wouldn't recommend her to most people. I grew up in Texas, and I have never heard an actor or actress not from Texas sound remotely like a real Texan. I knew she had theater training, so she could carry herself. We had many actresses, big and small, who wanted to play this part. The minute she started the read-through, the very first line, I thought, 'Everything is going to be fine; she's going to be brilliant.'"[5] Following the read through, the co-chairman of Miramax, Harvey Weinstein, decided to give Emma the green-light. However, he wanted Paltrow to appear in The Pallbearer first, before going ahead and allowing the film to be made.[5] While she recovered from wisdom-tooth surgery, Paltrow had a month to herself do her own research for the part.[6] She also studied horsemanship, dancing, singing, archery and the "highly stylized" manners and dialect during a three-week rehearsal period.[6]



Gwyneth Paltrow was picked by the director to portray Emma Woodhouse.
Jeremy Northam revealed that when he first tried to read Emma, he did not get very far and was not a fan.[7] When he read the script for the film, he was initially considered for another role, but he wanted to play George Knightley.[7] He stated "When I met the director, we got on very well and we talked about everything except the film. At the end of it, he said he thought Knightley was the part for me, so I didn't have to bring up the issue at all."[7] Northam added that Knightley's faith in Emma becoming a better person was one of the reasons he loved the character.[7] Australian actress Toni Collette was cast as Harriet Smith.[8] Collette also struggled to get into the Austen books when she was younger, but after reading Emma, which she deemed "warm and witty and clever", she began to appreciate them more.[8] Collette had to gain weight to portray "the Rubenesque Harriet" and she explained "I think it's important for people to look real in films. There's a tendency to go Barbie doll and I don't agree with that at all."[8]
Ewan McGregor was cast as Frank Churchill. He told Adam Higginbotham from The Guardian that he chose to star in Emma because he thought it would be something different from his previous role in Trainspotting.[9] McGregor later regretted appearing in the film, saying "My decision-making was wrong. It's the only time I've done that. And I learnt from it, you know. So I'm glad of that - because it was early on and I learnt my lesson. It's a good film, Emma, but I'm just... not very good in it. I'm not helped because I'm also wearing the world's worst wig. It's quite a laugh, checking that wig out."[9] Real-life mother and daughter, Phyllida Law and Sophie Thompson, portrayed Mrs and Miss Bates.[10] Thompson revealed that it was a coincidence that she and her mother were cast alongside each other, as the casting director had their names on separate lists.[10] McGrath initially believed Thompson to be too young to play Miss Bates, but he changed his mind after seeing her wearing glasses with her hair down.[10]
Alan Cumming appeared as Reverend Elton, who falls in love with Emma.[11] Cumming wrote on his official website that the friendship that developed between himself and McGrath was one of the most memorable things about his time working on the film.[12] He went on to state that the worst thing about the shoot was his hair, which had been lightened and curled for the character.[12] Juliet Stevenson portrayed the "ghastly" Mrs Elton, while Polly Walker and Greta Scacchi starred as Jane Fairfax and Anne Taylor respectively.[13][14][15] Other cast members included Edward Woodall as Robert Martin, James Cosmo as Mr Weston and Denys Hawthorne as Mr. Woodhouse, in one of his last film appearances.[16][17]
Costume design[edit]



 Emma's wedding dress created by Ruth Myers.
British costume designer Ruth Myers created and designed the clothing for the film.[18] She wanted to mirror the lightness of the script within the costumes and give "a spark of color and life" to the early 19th century setting.[19] During her research, Myers noted a similarity between the fashions after the Napoleonic Wars and the 1920s, saying that they had "the same sort of flapperish quality".[19] The designer explained "The moment I set to research it, more and more it kept striking me what the similarities were between the two periods. It was a period of freedom of costume for women, and it was a period of constant diversions for the upper classes–picnics, dinners, balls, dances. What I wanted to do was make it look like the watercolors of the period, which are very bright and very clear, with very specific colors."[19]
Myers went on to reveal that she did not want the costumes to have a "heavy English look" and instead she wanted "to get the freedom of bodies that you see in all the drawings, the form of the body underneath, the swell of the breasts."[19] Myers told Barbara De Witt from the Los Angeles Daily News that using pastel-colored clothing to get the watercolor effect was one of her major challenges during the production.[18] The designer was later criticised for being inaccurate, but she stated that she did not want the costumes to look old or sepia.[19] Myers only had five weeks in which to create 150 costumes for the production, and she was constantly working on the set.[18]
Emma's wedding dress was made from silk crepe and embroidered with a small sprig pattern, while the sleeves and the train were made from embroidered net.[20] Of the dress, Myers stated "The inspiration for Emma's wedding dress began with a small amount of exquisite vintage lace that became the overlay. I wanted a look that would work not only for the period but also one that would compliment Gwyneth Paltrow's youth, swan neck, and incredible beauty. I was also hoping to evoke happiness and the English countryside; the sun did shine on the day we shot the scene!"[20]
Music[edit]

Emma [Original Score]

Soundtrack album by Rachel Portman

Released
July 29, 1996
Genre
Film score
Length
42:45
Label
Hollywood Records
Rachel Portman chronology

Marvin's Room
 (1996) Emma
(1996) Beauty and the Beast: The Enchanted Christmas
 (1997)

The musical score of the film was written by British composer Rachel Portman. It was released on July 29, 1996.[21] Portman told Rebecca Jones from the BBC that her score was "purely classical". She continued "It is an orchestral piece, by which I mean that there is nothing in it that you wouldn't find in a symphony orchestra. It was influenced by my roots and my classical background."[22] Portman used various instruments to give a voice to the characters. She revealed that "a quivering violin" would represent Harriet's uneasy stomach, while "a bittersweet clarinet" would accompany Emma though her emotional journey.[23] Josh Friedman from the Los Angeles Times believed Portman's "crafty score guides the audience through the heroine's game playing, and ultimately, to her romantic destiny."[23] He also thought the music had "a sneaky, circular feel".[23]
Playbill's Ken LaFave commented that the score "underlined the period romanticism" in Emma and contained a "string-rich, romantic sound".[24] Jason Ankeny, a music critic for Allmusic, wrote that Portman's score to Emma employed all of her "signatures" like "whimsical yet romantic melodies, fluffy string arrangements, and woodwind solos", which would be familiar to anyone who had listened to her previous film scores.[21] He stated, "it seems as if she's simply going through the motions, content to operate within the confines of an aesthetic that, admittedly, is hers and hers alone. By no means a bad score, Emma is nevertheless a disappointment – if you've heard a previous Rachel Portman score, you've pretty much heard this one as well."[21] On March 24, 1997, Portman became the first woman to win the Academy Award for Best Original Score.[25] The album contains 18 tracks; the first track is "Main Titles", and the final track is "End Titles".[21]
Comparisons with the novel[edit]
Although in general staying close to the plot of the book, the screenplay by Douglas McGrath enlivens the banter between the staid Mr. Knightley and the vivacious Emma, making the basis of their attraction more apparent.
Austen's original novel deals with Emma's false sense of class superiority, for which she is eventually chastised. In an essay from Jane Austen in Hollywood, Nora Nachumi writes that, due partly to Paltrow's star status, Emma appears less humbled by the end of this film than she does in the novel.[26]
Reception[edit]
Critical response[edit]
The film has received generally positive reviews from critics. Film review aggregation site Rotten Tomatoes classified the film as "fresh" with an 84 percent approval rating among 44 reviews, with a rating average of 7.1 out of 10.[27] Metacritic, which assigns a score of 1–100 to individual film reviews, gave Emma an average rating of 66 based on 22 reviews.[28]
Ken Eisner, writing for Variety, proclaimed "Gwyneth Paltrow shines brightly as Jane Austen's most endearing character, the disastrously self-assured matchmaker Emma Woodhouse. A fine cast, speedy pacing and playful direction make this a solid contender for the Austen sweepstakes."[2]
Accolades[edit]

Award
Category
Recipients and nominees
Result
Academy Awards[29] Best Costume Design Ruth Myers Nominated
Best Original Score Rachel Portman Won
Chlotrudis Awards[30] Best Supporting Actor Jeremy Northam Nominated
London Film Critics' Circle[31] British Actor of the Year Ewan McGregor Won
Satellite Awards[32] Best Performance by an Actress in a Comedy or Musical Gwyneth Paltrow Won
USC Scripter Award[33] USC Scripter Award Douglas McGrath, Jane Austen Nominated
Writers Guild of America[34] Best Adapted Screenplay Douglas McGrath Nominated
See also[edit]

Portal icon Film portal
Portal icon Jane Austen portal
"Silent Worship" (song sung by Emma and Mr. Churchill)
References[edit]
1.Jump up ^ "Emma (U)". British Board of Film Classification. June 10, 1996. Retrieved February 18, 2012.
2.^ Jump up to: a b Eisner, Ken (June 9, 1996). "Emma". Variety. Penske Business Media. Retrieved November 24, 2012.
3.Jump up ^ Emma at Box Office Mojo
4.^ Jump up to: a b c d Chollet, Laurence (August 11, 1996). "Clued into Austen's 'Emma'". The Record (North Jersey Media Group). Retrieved 12 March 2013.
5.^ Jump up to: a b c Clark, John (July 21, 1996). "The Girl Can't Help It". Los Angeles Times (Tribune Company). Retrieved November 26, 2012.
6.^ Jump up to: a b Strauss, Bob (July 31, 1996). "Plain Jane : Not a 'Clueless' remake of Austen, 'Emma' tackles classic story head-on". Los Angeles Daily News. MediaNews Group. Retrieved November 26, 2012.
7.^ Jump up to: a b c d Donnelly, Rachel (September 14, 1996). "An ideal squeeze Jeremy Northam is the latest hero of a screen Jane Austen". The Irish Times (Irish Times Trust). Retrieved November 27, 2012.
8.^ Jump up to: a b c Ganahl, Jane (August 4, 1996). "Aussie actress shines in the latest Austen outing". San Francisco Chronicle (Hearst Corporation). Retrieved November 26, 2012.
9.^ Jump up to: a b Higginbotham, Adam (September 7, 2003). "Scot free". The Guardian (Guardian Media Group). Retrieved 27 November 2012.
10.^ Jump up to: a b c Gritten, David (July 28, 1996). "Mother-daughter Comedy Team". Los Angeles Times (Tribune Company). Retrieved November 28, 2012.
11.Jump up ^ Mills, Nancy (November 29, 1995). "Jumping From the Bard to 'GoldenEye'". Los Angeles Times (Tribune Company). Retrieved November 30, 2012.
12.^ Jump up to: a b "Emma". Alancumming.com. Retrieved November 29, 2012.
13.Jump up ^ Malcolm, Derek (December 31, 1996). "Jane Austen on saccharine". Mail & Guardian (M&G Media Ltd). Retrieved November 30, 2012.
14.Jump up ^ "Polly Walker". BBC. April 2007. Retrieved November 30, 2012.
15.Jump up ^ Kunz, Mary (April 28, 2000). "Endurance test". The Buffalo News (Berkshire Hathaway). Retrieved November 30, 2012.
16.Jump up ^ Corliss, Richard (July 29, 1996). "Cinema: A touch of class". Time. Time Inc. Retrieved November 30, 2012.(subscription required)
17.Jump up ^ Norman, Neil (November 1, 2009). "Denys Hawthorne obituary". The Guardian (Guardian Media Group). Retrieved November 30, 2012.
18.^ Jump up to: a b c De Witt, Barbara (March 13, 1997). "Costume Couture: Designers create characters with clothing fit for an Oscar". Los Angeles Daily News (MediaNews Group). Retrieved November 24, 2012.
19.^ Jump up to: a b c d e Calhoun, John (October 1, 1997). "Myers' way: Costume designer Ruth Myers runs the stylistic gamut with 'LA Confidential' & 'A Thousand Acres'". AccessMyLibrary. Gale. Retrieved November 25, 2012.
20.^ Jump up to: a b "Emma". Los Angeles Times (Tribune Company). Retrieved November 24, 2012.
21.^ Jump up to: a b c d Jason, Ankeny. "Emma (Original Score)". Allmusic. All Media Guide. Retrieved November 24, 2012.
22.Jump up ^ Jones, Rebecca (August 13, 2001). "Proms go to the movies". BBC News (BBC). Retrieved November 24, 2012.
23.^ Jump up to: a b c Friedman, Josh (August 5, 2002). "Music's Key Role in Movies' Moods". Los Angeles Times (Tribune Company). Retrieved November 24, 2012.
24.Jump up ^ LaFave, Ken (February 1, 2003). "Composer's Notes". Playbill. Retrieved November 24, 2012.
25.Jump up ^ Whitney, Hilary (December 13, 1999). "Networking women". The Guardian (Guardian Media Group). Retrieved 24 November 2012.
26.Jump up ^ Peter M. Nichols, The New York Times Essential Library: Children's Movies, Times Books, 2003, ISBN 0-8050-7198-9,
27.Jump up ^ "Emma (1996)". Rotten Tomatoes. Flixster. Retrieved November 23, 2012.
28.Jump up ^ "Emma". Metacritic. CBS Interactive. Retrieved November 23, 2012.
29.Jump up ^ "The 69th Academy Awards (1997) Nominees and Winners". Academy of Motion Picture Arts and Sciences. Retrieved November 23, 2012.
30.Jump up ^ "1997, 3rd Annual Awards". Chlotrudis Society for Independent Film. Retrieved November 23, 2012.
31.Jump up ^ "Talentspotting critics honour Ewan". Daily Mail (Associated Newspapers). March 3, 1997. Retrieved November 23, 2012.(subscription required)
32.Jump up ^ "Golden (not Globe) Awards Recognize Finest In Hollywood". Los Angeles Daily News (MediaNews Group). January 17, 1997. Retrieved November 23, 2012.(subscription required)
33.Jump up ^ Johnson, Ted (January 2, 1997). "USC script noms set". Variety. PMC. Retrieved November 23, 2012.
34.Jump up ^ "Writers Guild Of America Offers Awards Nominees". Sun-Sentinel (Tribune Company). February 8, 1997. Retrieved November 23, 2012.
External links[edit]
Official website
Emma at the Internet Movie Database
Emma at allmovie
Emma at Box Office Mojo
Emma at Rotten Tomatoes
Emma at Metacritic


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Silent Worship
From Wikipedia, the free encyclopedia
Jump to: navigation, search

The song "Silent Worship" is a 1928 adaptation by Arthur Somervell of the aria "Non lo dirò col labbro"[1] from Handel's 1728 opera Tolomeo (Ptolemy).[2] Somervell's English-language adaptation is for voice and piano, and it has remained a popular classic in song recitals and home music-making. Other arrangements of Somervell's translation include solo song accompanied by a modern symphony orchestra,[3][4] and male choir.[5]
"Silent Worship" is featured in the 1996 film adaptation of Jane Austen's novel Emma.[6] Although Somervell's English translation was done more than a century after Austen's novel, the original Italian aria was recorded in Jane Austen's own handwritten songbooks.[7][8]
Musically the song is a simple transcription of the original — with the orchestral parts reduced for piano, one or two slight changes in harmony, and the instrumental ending (postlude) omitted.[9] In the 1996 film Emma, the introduction is also shortened.[6]
The text is treated quite differently in the two versions:
In the original Italian baroque aria as set by Handel, the first part of the aria uses a single couplet to express a single two-fold thought: "I will not say it with my lips, they do not have the courage". The words are repeated several times, to emphasize the lack of courage. The second part of the aria expresses a complement to the first, its antithesis — twice as many words for half as much music — and therefore not repeated: "Perhaps, with sparks from yearning eyes, my gaze will speak to reveal how I am consumed by flames". The first part of the aria is then repeated, in A-B-A da capo aria form.[10]
Somervell's English adaptation took the basic thought and recast it to suit the aesthetic of a later era. Somervell expanded a two-line description of a static emotional state into a 16-line narrative, in which only a single line is repeated. Even the da capo — the reprise of the first part at the end — has a new paraphrase of the first text rather than the simple verbatim repetition which the baroque aria uses.[2]
"Non lo dirò col labbro"[edit]
Non lo dirò col labbro
 Che tanto ardir non ha.
 Forse con le faville
 Dell'avide pupille,
 Per dir come tutt'ardo,
 Lo sguardo parlera
 Non lo dirò col labbro
 Che tanto ardir non ha.[2]
Translation:
I will not say it with my lips
 Which have not that courage;
 Perhaps the sparks
 Of my burning eyes,
 Revealing my passion,
 My glance will speak.[2]
"Silent Worship"[edit]
Did you not hear My Lady
 Go down the garden singing
 Blackbird and thrush were silent
 To hear the alleys ringing
Oh saw you not My Lady
 Out in the garden there
 Shaming the rose and lily
 For she is twice as fair.
Though I am nothing to her
 Though she must rarely look at me
 And though I could never woo her
 I love her till I die.
Surely you heard My Lady
 Go down the garden singing
 Silencing all the songbirds
 And setting the alleys ringing.
But surely you see My Lady
 Out in the garden there
 Rivaling the glittering sunshine
 With a glory of golden hair.[2]
Notes[edit]
1.Jump up ^ Tolomeo, Re d'Egitto HWV 25 / Act 1 - Aria: Non lo dirò col labbro (MP3)
2.^ Jump up to: a b c d e GFHandel.org (click "FAQ" on left and scroll to bottom)
3.Jump up ^ "Silent Worship" – Kenneth McKellar accompanied by the Orchestra of the Royal Opera House, Covent Garden (MP3)
4.Jump up ^ Kenneth McKellar singing "Silent Worship" (video)
5.Jump up ^ "Silent Worship" sung by male choir (video)
6.^ Jump up to: a b "Silent Worship" from the 1996 film Emma (audio)
7.Jump up ^ Emma: Non-soundtrack Music Notes from site on Emma adaptations
8.Jump up ^ Jane's Hand: The Jane Austen Songbooks (CD and MP3)
9.Jump up ^ Georg Friedrich Händel – "Silent Worship" sheet music at Boosey & Hawkes
10.Jump up ^ "Non lo dirò col labbro" sung by countertenor David Walker (video)


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Aisha (2010 film)
From Wikipedia, the free encyclopedia
  (Redirected from Aisha (2010))
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Aisha
Aisha2010Poster.jpg
Indian poster

Directed by
Rajshree Ojha
Produced by
Sunil Manchanda
Rhea Kapoor
Anil Kapoor
Written by
Devika Bhagat (dialogue)
Manu Rishi Chaddha (dialogue)
Screenplay by
Devika Bhagat
Starring
Sonam Kapoor
Abhay Deol
Ira Dubey
Amrita Puri
Cyrus Sahukar
Music by
Amit Trivedi
Cinematography
Diego Rodriguez
Editing by
Sreekar Prasad
Distributed by
PVR Pictures
Anil Kapoor Films Company
MAD Entertainment Ltd.
Eros International
Release dates
6 August 2010

Running time
126 minutes
Country
India
Language
Hindi
Budget
INR200 million (US$3.2 million)[1]
Box office
INR215.0 million (US$3.4 million)[2]
Aisha is a 2010 Hindi romantic comedy film directed by Rajshree Ojha, starring Sonam Kapoor and Abhay Deol in the lead roles and Cyrus Sahukar, Arunoday Singh, Ira Dubey and Amrita Puri in supporting roles.[3]Set in the upper class society of Delhi, India.[4] The movie released on 6 August 2010,[5] to above average critical response[6] but was a below average grosser at the box office.[2]


Contents  [hide]
1 Plot
2 Cast
3 Soundtrack 3.1 Tracklist
4 Music Review
5 Reception 5.1 Critical reception
5.2 Box Office 5.2.1 India
5.2.2 Overseas

6 References
7 External links

Plot[edit]
The movie is based on the classic novel Emma by Jane Austen.
 Aisha (Sonam Kapoor) is a girl who believes she is perfectly suited for match-making – amongst her friends in particular. She is constantly criticised by her friend/neighbor Arjun (Abhay Deol) who advises her to stop meddling with others lives. She is unperturbed and carries on. She tries to make a match between her small town friend Shefali (Amrita Puri) and Randhir (Cyrus Sahukar). While at a party Aisha realises her jealousy over Arjun. After the party Arjun and Dhruv (Arunoday Singh) get a drink and talk about Aisha, Dhruv tries to act like he is in love with Aisha and insults Arjun. Arjun punches Dhruv and hurts him. She fails in her attempts and in the due course, she tries to match up Shefali with Dhruv until one day she realises that love does not come by force. She loses her friend Pinky (Ira Dubey) due to her actions who in the end falls in love with Randhir (Cyrus Sahukar). Shefali finds her love in Saurabh (an old friend). Aisha decides to go to Mumbai with Shefali and Dhruv. Shefali thinks that Arjun loves her. Then Aisha and Shefali have a fight. Shefali tells Aisha of how she had been treating her. She realises that she had been selfish and arrogant all along, and has mistreated her friends. Finally, she goes back to her best friend (Pinky) and apologises for her actions. She finally realises her love for Arjun but does not confess it. In the end he comes to her and proposes to her. The film ends with Dhruv marrying Aarti (Arjun's friend).
Cast[edit]
Sonam Kapoor as Aisha Kapoor
Abhay Deol as Arjun Burman
Ira Dubey as Pinky Bose
Cyrus Sahukar as Randhir Ghambir
Lisa Haydon as Aarti Menon
Arunoday Singh as Dhruv Singh
Amrita Puri as Shefali Thakur
Anand Tiwari as Saurabh Lamba
Yuri Suri as Col. Singh
M. K. Raina as Mr. Kapoor
Sameer Malhotra as Karan Burman
Anuradha Patel as Chitra Kanwar Singh
Masood Akhtar as Sant Ram
Vidhushi Mehra as Aalia Kapoor/Burman
Soundtrack[edit]

Aisha

Soundtrack album by Amit Trivedi

Released
8 July 2010
Genre
Film Soundtrack
Label
Sony Music
Amit Trivedi chronology

Udaan
 (2010) Aisha
 (2010) No One Killed Jessica
 (2010)

The music of Aisha was composed by Amit Trivedi, with lyrics penned by Javed Akhtar.
Tracklist[edit]

No.
Title
Artist
Length

1. "Suno Aisha"   Amit Trivedi, Ash King and Nakash Aziz 4:19
2. "Gal Mitthi Mitthi"   Tochi Raina 4:15
3. "Shaam"   Amit Trivedi, Nikhil D'Souza and Neuman Pinto 4:44
4. "Behke Behke"   Anushka Manchanda, Raman Mahadevan, Samrat Kaushal, Robert Bob Omulo and Suman Shridhar 3:43
5. "Lehrein"   Nikhil D'Souza, Anusha Mani and Neuman Pinto 4:50
6. "By The Way"   Anushka Manchanda and Neuman Pinto 3:31
7. "Gal Mitthi Mitthi (The Bombay Bounce Dhol Mix)"   DJ Lloyd & Discreet 4:01
8. "Lehrein (The Bombay Bounce Lounge Mix)"   DJ Lloyd & Discreet 4:45
Music Review[edit]

Professional ratings

Review scores

Source
Rating
Bollywood Hungama 5/5 stars[7]
IBN Live 4/5 stars[8]
Rediff 4/5 stars[9]
Planet Bollywood 8/10 stars[10]
Music Aloud 8.75/10 stars[11]
Glamsham 4/5 stars[12]
Apunkachoice 3.5/5 stars[13]
Planet Radio City 4/5 stars[14]
Music Perk 7/10 stars[15]
The music of "Aisha" by Amit Trivedi received extraordinary appreciation from every corner. IBNlive said, "With the stupendous music of Dev D, Amit Trivedi proved his prowess and now with the soundtrack of forthcoming film Aisha, he has reaffirmed that he is a young composer to look out for. Amit Trivedi deserves to be applauded for the soundtrack of Aisha, which is contemporary yet different. The composer has tried to fuse new sounds in the music of the film, which has worked very well. "
Atta Khan of Planet Bollywood said,"Put simply, the music of Aisha is super cool, vibrant and fun, has tons of variety and is an extremely colourful and inventive soundtrack that defines the new-age music we have come to associate with Amit Trivedi."
According to Glamsham, "AISHA is sassy, stylish cool album and has that desired "feel-good" musical feel to strike chords with pop-genre listeners. Amit Trivedi proves his mettle again and is high on his creative genius with strong inputs and influences of classical rock and youthful peppy feel tracks. Chartbusting success and oodles of entertainment are there in soundtracks like "Suno Aisha", "Sham", "Lehrein" and "By the way" and makes it sure that it will be positive add-ons to the narration of the flick."
Raja Sen of Rediff said,"What really does stand out in Trivedi's work is a defiant lack of attention to lyric. The best composers in the industry have either Oscar-winning poets writing their words or quirky ad-men crafting makeshift metaphors or even young bespectacled directors knowing what their songs should say: Trivedi seems to have none of this in Aisha, and yet gives us a very enjoyable, very young soundtrack with a distinct voice. His music – in fact, the feel of his music – does its own talking, and I recommend you listen to it a while."
Usha Lakra of Apun Ka Choice said,"Seeing Amit’s history of producing unconventional Bollywood tracks, the ‘Aisha’ compositions have us completely floored. The composer has got fire in the belly and he has proved his mettle yet again. Oh boy! Where were you?"
Harshita Kohli of Planet Radio City said this about the music,"Overall Aisha is a young album. The music is catchy, peppy and makes you feel good by the time you hit stop. It is far removed from Amit’s previous work and that shows the talent this young man has. Definitely an album worth having!"
Joginder Tuteja of Bollywood Hungama said,"Aisha springs a pleasant surprise. Of course one did expect a good score here but what one gets to hear is complete album that is new age, different and yet so appealing to youth. There is not a single song which doesn't work and each one tries to better the other. Ever since the release of music of Dev D, one wondered if composer Amit Trivedi would ever manage to come up with a wholesome album like that. He did compose for a few films in between and some of his work did impress. However, Aisha will clearly stand out as his best score since Dev D. Go for it and play it on with friends! "
Vipin of Music Aloud said,"Just a week since Udaan hit the shelves, Amit Trivedi continues to amaze with his consistency as he churns out another unputdownable soundtrack for Aisha. Respect."
Mukund Laddha of Music Perk said,"Amit Trivedi adds another feather in his hat with this album. The Music Album of Aisha has a jazzy song in its title track which is surely one of best songs of 2010 along with Gal Mitthi Mitthi. None of the other songs create any interest though. The background Music of this movie is praiseworthy. It is surely one album that you can to check out."
Reception[edit]
Critical reception[edit]
Aisha received positive to mixed critical response. On the review-aggregation website ReviewGang, the film scored 5.5/10 based on 12 reviews.[6] Nikhat Kazmi of The Times of India awarded the movie 4/5, saying that "Sweet love, substantial performances, super fun, slick 'n stylish, Aisha is a-ha stuff."[16] Indo-Asian News Service of NDTV gave the movie a positive review, stating that "Engaging and endearing – Aisha makes you wonder if there's anything more important in the world than finding the right match."[17] Sonia Chopra of Sify awarded the movie 3.5/5, commenting that "It’s so rare for a film to get it all together: from the story, to the performances, to the atmospherics, to the music and more. This one goes perfectly with the popcorn; don’t miss it."[18] Taran Adarsh of One India awarded the movie 3.5/5, concluding that "Aisha holds appeal for the youth mainly and there's a strong likelihood that this segment of movie-going audience will fall for its charms."[19] Kaveree Bamzai of India Today awarded the movie 3/5, commenting that "It's trashy but it's beautifully trashy. Almost like the food and conversation at a long Delhi brunch."[20] Sukanya Verma of Rediff awarded the movie 3/5, saying that "Beautifully shot and packaged with a fabulous soundtrack and superlative ensemble cast, Aisha, quite often, gets caught up in a self-created tangle of brand-led vanity to ever let one get acquainted to its leading lady."[21]
Aniruddha Guha of DNA India awarded the movie 2.5/5, stating that "Aisha leaves you with mixed feelings. It, however, might be the ideal date flick."[22] Shubhra Gupta of The Indian Express awarded the movie 2/5, concluding that "This is a good looking movie, with not a hair out of place, but we wish it was a little more rumpled, a little more lived in. Aisha is strictly in-between shallow."[23] Rajeev Masand of CNN-IBN awarded the movie 2/5, saying that "Aisha is like a pretty flute of champagne, but it loses its fizz far too quickly."[24] Komal Nahta of DNA India awarded the movie 2/5, stating that "Aisha was never meant for the single-screen and small-town audiences but it doesn't cut ice with the multiplex and city audience either."[25]
Box Office[edit]
India[edit]
Aisha had a poor opening at the box office, with collections of around 30–35%.[26] and collected INR29.1 million (US$470,000) net in its first day.[27] The movie collected INR103.0 million (US$1.6 million) in its first weekend.[28] The movie went on to collect INR127.6 million (US$2.0 million) net in its first week[29][30] and INR24.8 million (US$400,000) in its second week.[31] The movie grossed INR215.0 million (US$3.4 million) in its lifetime run.[32] The movie was declared as a below average grosser, collecting INR161.3 million (US$2.6 million) nett in its entire run.[2]
Overseas[edit]
Aisha collected $350,000 in its first weekend at the overseas box office[33] and was declared as a below average grosser, collecting around $1,000,000 in its entire run.[34]
References[edit]
1.Jump up ^ "International brands tie up with Aisha". One India. Retrieved 2011-04-03.
2.^ Jump up to: a b c "All India 2010". Box Office India. Retrieved 5 September 2010.
3.Jump up ^ "Official Site".
4.Jump up ^ "Aisha based on Jane Austen's novel Emma". Indiatimes. Archived from the original on 6 September 2010. Retrieved 2010-08-29.
5.Jump up ^ "Aisha Release Date". Indicine. Retrieved 5 September 2010.
6.^ Jump up to: a b "Aisha Reviews". Review Gang. 16 August 2010. Retrieved 5 September 2010.5.5/10 stars
7.Jump up ^ Bollywood Hungama review
8.Jump up ^ IBN Live review
9.Jump up ^ Rediff review
10.Jump up ^ Planet Bollywood review
11.Jump up ^ Music Aloud review
12.Jump up ^ Glamsham review
13.Jump up ^ Apunkachoice review
14.Jump up ^ Planet Radio City review
15.Jump up ^ Music Perk review
16.Jump up ^ Nikhat Kazmi. "Aisha Movie Review: The Times of India". The Times of India.4/5 stars
17.Jump up ^ Indo-Asian News Service. "Review: Aisha – NDTV". NDTV.
18.Jump up ^ Sonia Chopra. "Aisha review: This one goes perfectly with the popcorn". Sify.3.5/5 stars
19.Jump up ^ Taran Adarsh. "Aisha – Review : Taran Adarsh". One India.3.5/5 stars
20.Jump up ^ Kaveree Bamzai. "Film review: 'Aisha' – India Today". India Today.3/5 stars
21.Jump up ^ Sukanya Verma. "Aisha: Love the fashion, the girl not so much – Rediff". Rediff.3/5 stars
22.Jump up ^ Aniruddha Guha. "Review: Aisha relies on humour, chick factor". DNA India.2.5/5 stars
23.Jump up ^ Shubhra Gupta. "Review: Aisha – The Indian Express". The Indian Express.2/5 stars
24.Jump up ^ Rajeev Masand. "Masand: 'Aisha' is a tiring film". CNN-IBN.2/5 stars
25.Jump up ^ Komal Nahta. "Review: Aisha is all glam, no substance". DNA India.2/5 stars
26.Jump up ^ "Aisha Has A Poor Start". Box Office India. 16 August 2010. Retrieved 5 September 2010.
27.Jump up ^ "Aisha Day One Business". Box Office India. 7 August 2010. Retrieved 5 September 2010.
28.Jump up ^ "Aisha First Weekend Territorial Breakdown". Box Office India. 10 August 2010. Retrieved 5 September 2010.
29.Jump up ^ "Box Office Earnings 06/08/10 – 12/08/10". Box Office India. 7 August 2010. Retrieved 5 September 2010.
30.Jump up ^ "Peepli Live Good Start Help Dull". Box Office India. 14 August 2010. Retrieved 5 September 2010.
31.Jump up ^ "Lafangey Parindey Decent Start Peepli Live Good Week One". Box Office India. 21 August 2010. Retrieved 5 September 2010.
32.Jump up ^ "Box Office 2010". Box Office India. 16 August 2010. Retrieved 5 September 2010.
33.Jump up ^ "Aisha is Dull Overseas". Box Office India. 10 August 2010. Retrieved 5 September 2010.
34.Jump up ^ "Peepli Live Does Well Overseas". Box Office India. 17 August 2010. Retrieved 5 September 2010.
External links[edit]
Official website
Aisha at the Internet Movie Database


[hide]
v ·
 t ·
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Jane Austen's Emma


Characters
Emma Woodhouse ·
 George Knightley
 

Films
Clueless (1995) ·
 Emma (1996)  ("Silent Worship")
   ·
 Aisha (2009)
 

Television
Emma (1972) ·
 Clueless (1996) ·
 Emma (1996) ·
 Emma (2009)
 

See also
Jane Austen in popular culture
 

PortalJane Austen Portal


Category:Films shot in Delhi
 


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Hindi-language films
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2010s romantic comedy films
Films based on works by Jane Austen
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Clueless (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Clueless
Clueless.jpg
Theatrical release poster

Directed by
Amy Heckerling
Produced by
Scott Rudin
 Robert Lawrence
Twink Caplan
Adam Schroeder
 Barry M. Berg
Written by
Amy Heckerling
Starring
Alicia Silverstone
Stacey Dash
Brittany Murphy
Paul Rudd
Donald Faison
Breckin Meyer
Dan Hedaya
Music by
David Kitay
Cinematography
Bill Pope
Editing by
Debra Chiate
Distributed by
Paramount Pictures
Release dates
July 19, 1995

Running time
97 minutes
Country
United States
Language
English
 Spanish
Budget
$20,000,000
Box office
$56,631,572
Clueless is a 1995 American comedy film loosely based on Jane Austen's 1815 novel Emma. It stars Alicia Silverstone in the lead role, Stacey Dash, Paul Rudd and Brittany Murphy. The film is set in the town of Beverly Hills and was written and directed by Amy Heckerling and produced by Scott Rudin, it was released in the United States on July 19, 1995.
The film spun off a television sitcom and a series of books.


Contents  [hide]
1 Plot
2 Cast of characters
3 Production
4 Home media
5 Reception
6 Legacy
7 Soundtrack
8 Adaptations 8.1 TV series
8.2 Books
9 See also
10 References
11 External links

Plot[edit]
Cher Horowitz (Alicia Silverstone) is a good-natured but superficial girl who is attractive, popular, and extremely wealthy. A few months shy of her sixteenth birthday, she has risen to the top of the high-school social scene, and is happy and self-assured in her insular, fashion-obsessed world. She lives in a Beverly Hills mansion with her father Melvin (Dan Hedaya), a ferocious $500-an-hour litigator; her mother has long since died, having succumbed to complications while undergoing liposuction surgery. Cher's best friend is Dionne Davenport (Stacey Dash), who is also rich, pretty, and hip, and understands what it's like to be envied.
Among the few people to find much fault with Cher is Josh (Paul Rudd), her socially conscious ex-stepbrother who visits during a break from college. Josh and Cher spar continually but without malice; she refers to him as "granola breath" and mocks his scruffy idealism, while he teases her for being selfish, vain, and superficial, and says that her only direction in life is "toward the mall."
Illustrating that Cher's selfishness is usually innocent and relatively harmless, Cher plays matchmaker for two lonely, nerdy, hard-grading teachers, Mr. Hall (Wallace Shawn) and Miss Geist (Twink Caplan). She achieves her ostensible purpose—to make them relax their grading standards so she can renegotiate a bad report card—but when she sees their newfound happiness, she realizes she actually enjoys doing good deeds. Cher now decides that the ultimate way she can give back to the community would be to "adopt" a "tragically unhip" new girl at school, Tai Frasier (Brittany Murphy). Cher and Dionne give Tai a makeover and initiate her into the mysteries of popularity. Cher also tries to extinguish the strong mutual attraction between Tai and Travis Birkenstock (Breckin Meyer), an amiable skateboarding slacker, and to steer her toward Elton (Jeremy Sisto), a rich snob whose father is a music-industry executive.
Her second matchmaking scheme backfires when Elton rejects Tai and makes a play for Cher. Matters worsen when Cher's "project" works a bit too well and Tai's popularity begins to surpass Cher's, especially after Tai has a "near-death" misadventure at the mall that helps to skyrocket her to fame at school. Other classmates, including Dionne's and Cher's longtime rival Amber (Elisa Donovan), soon gravitate toward Tai, and Cher finds herself demoted from queen to courtier at high school.
Events reach crisis stage after Cher fails her driver's test and can't "renegotiate" the result. When Cher returns home, crushed, Tai confides that she's taken a fancy to Josh and wants Cher to help her "get" him. Cher says she doesn't think Josh is right for Tai, and they quarrel. Cher, left all alone, begins to think she has created a monster in her own image. Feeling "totally clueless," she reflects on her priorities and her repeated failures to understand or appreciate the people in her life. Most of all, she keeps thinking about Josh and Tai, and wonders why she cares so much.
After much soul searching (which includes a solo shopping spree around various Beverly Hills boutiques), Cher realizes she has fallen in love with Josh. She begins making awkward but sincere efforts to live a more purposeful life, even captaining the school's Pismo Beach disaster relief effort. A scene near the end of the film finds Cher and Josh stumbling over how to admit their mutual feelings for one another, culminating in a tender kiss on the stairs of her home.
The film has a happy Hollywood ending for Cher: Mr. Hall and Miss Geist get married; her friendships with Tai and Dionne are reaffirmed and solidified; Tai and Travis are in love; and now, in Josh's arms, she too has finally found love.
Cast of characters[edit]
See also: List of Clueless characters
The film's central characters are:
Alicia Silverstone as Cher Horowitz: A sweet but spoiled Valley Girl type – though she actually lives in Beverly Hills. Living in a mansion, waited on by servants, and flaunting her wealth with fashion, she's the undisputed queen of Beverly Hills High School. Cher is also tough and clever, like her father Mel. Cher convinces two of her teachers that each is a secret admirer of the other, negotiating her way from a C+ average to an A- average. Cher doesn’t have a regular boyfriend and she describes finding a boyfriend in high school as "being as pointless as looking for meaning in a Pauly Shore movie." In an example of movie-production continuity failure, her surname is "Hamilton" on her report card, as is her father's when he tosses aside a piece of mail. She is based on the character Emma Woodhouse.
Stacey Dash as Dionne Davenport: Cher’s best friend. Both she and Cher are rich and beautiful, but caring. Cher uses Dionne as her number one fashion critic. Dionne and boyfriend Murray (played by Donald Faison) have an extremely tumultuous relationship and are often quarreling (an inversion of the idealized relationship between Austen's Isabella and John Knightley). They undergo spats about Murray shaving his head and Dionne finding “cheap polyester hair” in the backseat of his car, but they also bond over Dionne’s first driving experience on the freeway, inspiring a wistful admiration in Cher.
Brittany Murphy as Tai Frasier: The ugly duckling transformed into the beautiful swan. Cher and Dionne decide to give her a makeover. With a change of hair, makeup and clothing, Tai gains confidence and a sense of style. Originally Tai fell for skater Travis (Breckin Meyer), but Cher tried to set up Tai with “it boy” Elton to boost her popularity. After a “near-death experience” at the mall, Tai obtains an overly confident attitude that ultimately poses a threat to Cher's social status. She also develops a crush on Josh, and asks Cher to help her get him. By the end of the film, Tai regains Cher's respect and friendship, and begins to date Travis. This was Murphy's first major film role. She is based on the Emma character Harriet Smith.
Paul Rudd as Josh Lucas: Cher's ex-stepbrother, as Mel had been married to Josh's mother five years earlier. Josh has ambitions to be a lawyer (his focus is environmental law), and during a college break comes for a protracted visit Cher and her father at their house; he claims that being around Mel is a "great learning experience." Throughout the film, Josh teases Cher, but at the same time shows his caring and concern for her. He is based on the Emma character George Knightley.
Dan Hedaya as Mel Horowitz: A gruff and successful workaholic litigator, he is constantly involved in big cases in Beverly Hills, where he lives with his teenage daughter Cher. Despite being divorced from Josh's mother, he tells his daughter "You divorce wives, not children" and is very protective of Cher, telling Christian: "If anything happens to my daughter, I've got a .45 and a shovel. I doubt anybody would miss you." He is based on the Emma character Mr. Henry Woodhouse.
Elisa Donovan as Amber Mariens: A popular spoiled brat who is despised by Cher and Dionne, she is in constant competition with Cher when it comes to style, popularity, and boys. Cher dubs her a "Monet" (just like the painting, "from far away it's okay, but up close it's a big old mess.") She is based on the Emma character Augusta Elton.
Justin Walker as Christian Stovitz: Cher's love interest. To catch Christian's attention, Cher sends herself flowers, candies, and love notes. Christian finally attends a party with Cher. Cher plans a big night to finally "do it" with Christian, but he ignores her advances. It is later revealed that that is because he is not interested in girls. He is based on the Emma character Frank Churchill.
Other charactersWallace Shawn as Mr. Wendell Hall - He is based on the Emma character Mr. Weston
Twink Caplan as Ms. Geist - She is based on the Emma character Miss Taylor/Mrs. Weston
Julie Brown as Coach Millie Stoeger
Donald Faison as Murray Duvall - Dionne's long-term boyfriend
Breckin Meyer as Travis Birkenstock - He is based on the Emma character Robert Martin.
Jeremy Sisto as Elton Tiscia - He is based on the Emma character Philip Elton.
Nicole Bilderback as Summer
Production[edit]
The film had a 40-day filming schedule. Producers sat in on classes at Beverly Hills High School to get a feel for the student culture. Herb Hall, the real drama teacher at Beverly Hills High School, played the principal in the film. Scenes depicting the high school campus, including the tennis courts, the outdoor cafeteria, the quad, and various classrooms were filmed at Occidental College in Los Angeles.
Home media[edit]
Clueless was released on VHS and Laserdisc in early 1996 by Paramount Home Video.
The film was first released to DVD on October 19, 1999; the special features only included 2 theatrical trailers.
A special "Whatever! Edition" 10th anniversary DVD was released on August 30, 2005. It included featurettes and cast interviews, including:
The Class of '95 – A look at the cast
Creative Writing – Amy Heckerling talks about the script
Fashion 101 – How filmmakers invented the trendsetting style of Clueless
Language Arts – The director and cast members give facts on the groundbreaking slang, and how Clueless revived Valspeak slang
Suck and Blow – How to play the game depicted in the Sun Valley party scene
Driver's Ed
We're History – Stories from cast and crew of Clueless
Two theatrical trailers
The film was released on Blu-ray disc for the first time on May 1, 2012. Special features were carried over from the "Whatever!" edition of 2005, and included a new trivia track.
Reception [edit]
The film became a surprise sleeper hit of 1995, grossing well over $11 million on its opening weekend #2 behind Apollo 13, and it eventually grossed $55 million during its theatrical run. It was the 32nd highest-grossing film of 1995 and brought the then-largely-unknown actress Alicia Silverstone to international attention. It also developed a strong cult following after its release.[citation needed]
The film was also well received by critics. It currently holds an 81% "Certified Fresh" rating on review aggregate website Rotten Tomatoes. In 2008, Entertainment Weekly selected Clueless as one of the "New Classics," a list of 100 released between 1983 and 2008,[1] Clueless was ranked 42nd.[2]
Legacy[edit]
In 2008 Entertainment Weekly named it the 19th best comedy of the past 25 years.[3]
American Film Institute recognition:
AFI's 100 Years... 100 Laughs - Nominated[4]
AFI's 100 Years...100 Movie Quotes: "As if!" - Nominated[5]

Silverstone stated that she "always felt connected to [Murphy] as [they] shared a very special experience in [their] lives together."[6] Following Murphy's death, Silverstone reported in an interview: "I loved working with Brittany. She was so talented, so warm, and so sweet."[6]
Heckerling later described Silverstone as having "that Marilyn Monroe thing" as a "pretty, sweet blonde who, in spite of being the American ideal, people still really like." [7]
The cast reunited in 2012 for Entertainment Weekly's reunion issue.[8]
Amy Heckerling later reunited with both Silverstone and Shawn for the vampire comedy Vamps.
Soundtrack[edit]
1."Kids in America" (The Muffs) – 3:18
2."Shake Some Action" (David Lowery) – 4:25
3."The Ghost in You" (Counting Crows) – 3:30
4."Here" (Squirmel Mix) (Luscious Jackson) – 3:33
5."All the Young Dudes" (World Party) – 4:00
6."Fake Plastic Trees [Acoustic Version]" (Radiohead) – 4:45
7."Change" (Lightning Seeds) – 4:01
8."Need You Around" (Smoking Popes) – 3:42
9."Mullet Head" (Beastie Boys) – 2:53
10."Where'd You Go?" (The Mighty Mighty Bosstones) – 3:16
11."Rollin' with My Homies" (Coolio) – 4:06
12."Alright" (Supergrass) – 3:01
13."My Forgotten Favorite" (Velocity Girl) – 3:49
14."Supermodel" (Jill Sobule) – 3:07
Adaptations[edit]
TV series[edit]
Main article: Clueless (TV series)
In 1996, the producers created a spinoff television series, which followed the continuing adventures of Cher and her friends. Several cast members from the film went on to star in the TV program, with the notable exceptions of Alicia Silverstone (who went on to sign a film deal with Columbia-TriStar worth $10 million) and Paul Rudd. Silverstone was replaced in the series with actress Rachel Blanchard.
Stacey Dash reprised the role of Dionne.
Donald Faison reprised the role of Murray.
Elisa Donovan reprised the role of Amber.
Michael Lerner (1st season) and Doug Sheehan replaced Dan Hedaya as Mel.
David Lascher replaced Paul Rudd as Josh.
Heather Gottlieb replaced Brittany Murphy as Tai.
Teachers Mr. Hall, Ms. Geist, and Coach Stoeger (played by their respective actors) appeared in the series, but Coach Stoeger's last name was changed to "Diemer."
Books[edit]
Main article: Clueless (novels)
A collection of books was also published after the release of the film by Simon Spotlight Entertainment publishing company from 1995-1999. These books were published as paperbacks and aimed at adolescent readers.
See also[edit]

Portal icon Jane Austen portal
Portal icon Los Angeles portal
Portal icon Film portal
Portal icon 1990s portal
Valspeak
Cinema of the United States
References[edit]
1.Jump up ^ "The New Classics: Movies". Entertainment Weekly. Time. 2008-06-27. Retrieved 2009-07-03.
2.Jump up ^ "Clueless, Alicia Silverstone, ... | 100 New Movie Classics: No. 50-26". Entertainment Weekly. Time. Retrieved 2009-07-03.
3.Jump up ^ "Clueless, Alicia Silverstone, ... | The Comedy 25: The Funniest Movies of the Past 25 Years". Entertainment Weekly. Time. Retrieved 2009-07-03.
4.Jump up ^ "AFI's 100 Years...100 Laughs Nominees" (PDF). Retrieved 2012-08-22.
5.Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2012-08-22.
6.^ Jump up to: a b "Alicia Silverstone: I Hope Brittany Murphy Is at Peace". People Magazine. December 20, 2009. Retrieved 2009-12-20.
7.Jump up ^ Haramis, Nick (09/13/12), Alicia Silverstone & Amy Heckerling: A Reunion, retrieved 09/18/12
8.Jump up ^ "'Clueless' Reunion On Entertainment Weekly Makes Us Miss Cher And Dionne". The Huffington Post. 10/05/12. Retrieved 11/4/12.
External links[edit]
 Wikiquote has a collection of quotations related to: Clueless (film)
Official website
Clueless at the Internet Movie Database
Clueless at allmovie
Clueless at Box Office Mojo
Clueless at Rotten Tomatoes


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List of Clueless characters
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This is a list of characters in the original film version of Clueless and its subsequent television spin-off. The original characters were created by Amy Heckerling, writer and director of the film.


Contents  [hide]
1 Cher Horowitz
2 Mel Horowitz
3 Josh Lucas
4 Dionne Davenport
5 Tai Frasier
6 Amber Mariens
7 Christian Stovitz
8 Murray Duvall
9 Elton
10 Travis Birkenstock
11 Sean Holliday
12 Mr. Alphonse Hall
13 Ms. Geist
14 Coach Millie Diemer / Stoeger
15 See also

Cher Horowitz[edit]
(Alicia Silverstone in the film, Rachel Blanchard in the series)
Cher is a sweet, if somewhat dippy, blonde teenager who lives with her father in Beverly Hills, California. Cher often speaks in Valley Girl slang (including new idioms coined by the writers of Clueless). Her role in the film and series is that of the central protagonist; many of the plot lines revolve around, or involve, Cher in some way, although sub-plots, particularly in the TV series, allow the focus to shift from her toward others and back.
Cher is popular with her classmates; she often uses her social status (and social know-how) to aid others. Yet these crusades are not always as successful as she would wish. Much of the film's plot centers around Cher's gradual realization that her judgment is not infallible - such as with her attempts to give Tai a makeover - and that Cher may benefit from attempting to improve herself or any of her classmates for that matter. However, some of Cher's attempts at righting the world's minor wrongs indeed produce the results she anticipates, such as with matchmaking between two of her teachers.
As the daughter of a lawyer, Cher has developed extensive conversational skills. She can (frequently) talk teachers into improving her grades, and she excels in Mr. Hall's debate class. However, Cher's efforts to talk her way out of trouble are not always successful, such as when Cher fails her driver's test due to her below-par driving skills. (Dionne: "That was a stop sign!" Cher: "I totally paused.") Josh is often the first to point out when Cher "finds a situation she can't talk her way out of."
Cher's knowledge is not without flaws, particularly in relation to certain elements of history and culture. For instance, in a voiceover, she calls the film Spartacus "Sparatacus". Then, in her debate class, she repeatedly pronounces the word "Haitians" as "Hatey-yuns." The latter, however, was a gaffe on the part of Alicia Silverstone herself.[citation needed]
Overall, Cher is the person to consult when you need a "clue". Just don't give her the keys to your SUV.
Mel Horowitz[edit]
(Dan Hedaya in the film; Michael Lerner in the first TV season; Doug Sheehan in subsequent seasons)
Mel is a big-time lawyer. He is the father of Cher and step-father to Josh. He is, for the most part, a single man, having had a number of relationships prior to the events of Clueless; he is divorced from Josh's mother, whilst Cher's mother was deceased.
Mel is a highly protective father to Cher, heavily scrutinizing her dates (most famously in a sequence in which he tells Christian Stovitz: "I have a .45 and a shovel; I doubt anyone would miss you".) He also dislikes Cher wearing revealing outfits ("It looks like an underwear! Go upstairs and put something on over it.") Mel is, however, proud of his daughter's abilities, her good work for others and her attempts to make herself better, including her debating skills ("Honey, I couldn't be happier than if they were based on real grades.")
Mel is also dedicated to his job and often allows Josh, a want to be environmental lawyer, to assist on his cases; he also accepts help from Cher on occasions, though Cher's ineptitude in this field means she is not as much use to her father ("I divided them into two piles. Is that wrong?").
In the film, a prop (an envelope) is seen giving Mel's surname as Hamilton; however, almost all other uses of the character's name show his surname as Horowitz.
Josh Lucas[edit]
(Paul Rudd in the film, David Lascher in the series)
Josh is the son of Mel's ex-wife from a previous relationship, and thus Cher's former step-brother. Josh is actually from Seattle, Washington, but goes to college in L.A., as when Cher makes note of his fashion being suitable for the "Crisp Seattle weather". He is a college student with an apartment of his own near school, but often returns to the Horowitz home, particularly when he is not on good terms with his mother's current partner ("Husband number four is at home, and his idea of acting like a family is to criticise me.") He also relishes the ability to work alongside Mel, in order to pick up skills for his possible future career in environmental law. Mel is clearly close to Josh, stating to Cher in the first film, "You divorce wives, not children", suggesting he thinks of Josh as his own son.
Josh is an environmentalist and often raises the issue ("we might get Marky Mark to plant a celebrity tree") as part of wider gloating. For much of the film he considers himself superior to Cher, often looking down on Cher's pop-culture obsessed worldview ("Who's Pippi Longstocking?" "Someone Mel Gibson never played.") and choosing to watch CNN over Cher's choice of Beavis and Butthead. Although he teases Cher, he also has compassion for her, as shown when he defends her following her blunder with legal papers.
During the course of the film, Cher realises she is romantically interested in Josh, but also observes that because they are already familiar to each other, she is unable to use her usual seduction techniques. (As they are not blood-related family members, a relationship between them would not be considered incestuous, as they have completely different parents). By the close of the film it appears they are dating. However, in the subsequent TV adaptation there is no suggestion of direct romantic involvement between the characters.
The character of Josh only appears in the first of the three TV seasons. Paul Rudd appears as a character named Sonny in one episode (I Got You Babe) of the TV series.
Dionne Davenport[edit]
(Stacey Dash in the film and the series)
Dionne is Cher's closest friend and confidante. She is a fashionable, upmarket young black woman who, like Cher, possesses a high social standing. However, she is less willing to "use (her) popularity for a good cause" than Cher (when the option of making over Tai is floated, Dionne observes that "she is to' up (unattractive); our stock (popularity) would plummet." However, Cher is usually able to convince her to be involved in her schemes, such as the matchmaking of Mr. Hall and Ms. Geist.
As noted above, Dionne occasionally uses Valley Girl slang similar to that used by Cher and others, though does not use it extensively; Dionne is well-spoken and clearly intelligent at times, it seems, more so than Cher:[ "That was a stop sign!" "I totally paused!").
Dionne is involved in a regular relationship with Murray Duvall through the majority of the film and TV series; their relationship is seen by many to be somewhat fiery (with their large-scale public spats being a common sight), but they do also care for each other. Dionne states during the film that she is a virgin, though later, after a frightening experience on the freeway, Dionne's virginity goes "from technical to non-existent" according to Cher. The sexual element of their relationship is not raised in the television series until the final episode.
Tai Frasier[edit]
(Brittany Murphy in the film, Heather Gottlieb in the series)
Tai is a transfer student who arrives at Bronson Alcott High and instantly stands out due to her differences in appearance and attitude to the other students. Much of the film centres on Cher's "project" to make Tai attractive and popular, and, after this fails, her subsequent realisation that it is Tai's personal substance that is important rather than her looks or popularity.
Tai forms a rapid bond with slacker Travis after meeting him in the school cafeteria. However, Cher feels that a "loadie" boyfriend would hamper her attempts to bring Tai into the popular clique; consequently, Cher makes extensive efforts to set Tai up with the wealthy and popular Elton. However, this backfires when it emerges that Elton is more interested in Cher. These misfiring matchmaking attempts, coupled with Tai's rising popularity following an incident at the shopping mall in which she is held over a balcony, drive a wedge between Tai and Cher. Cher ultimately realises that she cannot force Tai to become something she is not, and that Tai would be happier with Travis in her life. By the end of the film Tai has patched up her differences with Cher and apparently begun to date Travis, who is her date to Mr. Hall and Ms. Geist's wedding.
Tai's past experiences with sex and drugs are more intensive than those of the other Bronson Alcott students (though these past ventures are only implied/referenced and not seen directly on screen). Some of the references go over the other students' heads: when Tai refers to cannabis as "herbal refreshment", Cher assumes that she is talking about tea (however, this is instantly followed by a similar misunderstanding in the other direction; when Cher refers to Coca-Cola as Coke, Tai appears to assume she is actually referring to cocaine.)
Tai's role in the TV series is significantly smaller than in the movie, and she had been dropped altogether by the second season. Brittany Murphy appeared in the TV episode 'Driving Me Crazy' as a character named Jasmine.
Amber Mariens[edit]
(Elisa Donovan in the film and the series)
Amber is a girl in the popular clique but fulfills the stereotype of popular girls, being snobbish, mean-spirited and spiteful. She is despised by both Cher and Dionne and is in constant competition with Cher throughout the film when it comes to style, popularity, and boys. Cher dubs her a "Monet" (just like the painting, "from far away it's okay, but up close it's a big old mess.") Amber coexists with Cher, Dionne, and Tai (post makeover), despite her snobbish attitudes and bantering. She is apparently a spoiled daughter even by Beverly Hills standards, though her family members are not seen on screen until late in the TV series' run. Her parents, Tripp and Ginger, have a rocky relationship. Tripp Mariens is a weak-willed, cowardly man who dotes on his daughter and repeatedly gives into her constant whims and demands, whereas Ginger Mariens is a fearsome battleaxe who sees Amber for the pampered, manipulative brat that she is.
Amber is a snobbish, style-obsessed redhead who dislikes Cher and often belittles her fashion and lifestyle choices; this dispute is driven in part by the girls' competition for popularity and style supremacy. Despite their disputes, Cher and Amber often end up in the same social situations, as they both move in similar social circles. Despite Amber's profession to be a style leader, she often ends up aping Cher, such as attending a party in a dress similar to one which Cher had worn earlier.
Amber becomes the third member of the TV show's central triumvirate along with Cher and Dionne, particularly in later episodes after the character of Tai has been dropped. During the TV series it is revealed that Amber's middle name is "Princess".
During the TV series, Amber and her family briefly move into Cher and Mel's house (which is supposedly larger and grander than Amber's family home) following Mel's financial failure ("Bakersfield Blues"; however, they subsequently move out when Cher and Mel return to Beverly Hills.
Christian Stovitz[edit]
(Justin Walker in the film)
Christian is a high-school student who, due to his parents' divorce, spends alternating semesters at Bronson Alcott and at a school in Chicago. On his arrival at BAHS, Cher instantly takes a shine to him and attempts to secure him as her boyfriend ("I know I said I'd find a guy for Tai, but there's no harm in finding one for myself also.") Through her attempts to seduce Christian, we see the methods Cher uses to drive boys' interest in her, which include arranging for chocolates and flowers to be sent to herself in school and wearing slightly revealing clothing ("this reminds guys of being naked, and then they think of sex.")
Christian responds to Cher's advances primarily as a way of getting information on parties that he can attend, in one instance being the last person remaining on the dance floor at the end of the night. Cher is, however, oblivious to his homosexual tendencies ("Look how he ignores every other girl!") until Murray later spells it out to her and Dionne in the car ("Your man Christian is a cake-boy! A disco-dancing, Oscar Wilde-reading, Streisand-ticket-holding friend of Dorothy!") This follows an evening in which Cher unsuccessfully attempts to encourage Christian to have sexual intercourse with her, Christian preferring to watch Tony Curtis videos instead.
Despite the failure of this endeavor, Cher remains on good terms with Christian, primarily due to Cher's admiration of his taste in art and fashion.
Christian is not featured in the TV adaptation.
Murray Duvall[edit]
(Donald Faison in the film and TV series)
Murray is Dionne's long-term boyfriend and often engages in public spats with his partner. Despite their apparently rocky relationship, Murray and Dionne are shown also to care about each other. Murray was also, it is suggested, Dionne's first sexual partner.
Murray is one of the leading male characters, particularly in the TV series, where he forms something of a comic double-act with Sean Holliday, with the two often taking part in schemes and stunts together. Murray and Sean fall out, however, after it emerges that Dionne dated Sean prior to Murray (the boys do subsequently patch up their differences).
Elton[edit]
(Jeremy Sisto in the film)
Elton is a wealthy, arrogant student at Bronson Alcott High. Cher attempts to set Tai up with him, but her attempts fail as Elton is in fact more interested in Cher.
Elton's surname is not given in the film.
Like Travis and Christian, Elton does not appear in the TV series.
Travis Birkenstock[edit]
(Breckin Meyer in the film)
A stoner[disambiguation needed] skater[disambiguation needed] who falls for Tai; however, their attempts at courtship are derailed for a time by Cher's attempts to set Tai up with Elton. Travis is an underachiever, constantly late for class and often receiving poor grades.
Travis does not appear in the TV series. However, Breckin Meyer made a guest appearance in the episode "Do We With Bad Haircuts Not Feel?" as Harrison.
Sean Holliday[edit]
(Sean Holland in the TV series)
Murray's best friend, Sean was introduced in the TV series, in part to cover for the fact that many of the film's male characters had not been transferred across. Sean is a cheerful, if slightly naive, young man interested in rapping and dancing; he is often involved in wacky schemes, many of which he drags Murray into.
Although the character of Sean Holliday does not appear in the film, Sean Holland did, in a much smaller but similar role under the character name Lawrence.
Mr. Alphonse Hall[edit]
(Wallace Shawn in the film and the series)
Mr. Hall is Cher and Dionne's class teacher, and one of the most prominently-featured Bronson Alcott staff in the franchise.
The character's name is listed in the credits of the film as "Mr. Wendell Hall" (his first name is not given during the movie; the name may be a reference to the song "Mr. Wendell"). In the TV series his full name is given as Alphonse Hall. His TV appearances are principally in the first season.
Ms. Geist[edit]
(Twink Caplan in the film and series)
Ms. Geist is another of Bronson Alcott High's teaching staff. One of Cher's big projects in the film is setting her up romantically with Mr. Hall. Like Mr. Hall, her TV appearances are primarily in the first season.
In addition to performing, Twink Caplan was also credited as one of the film's producers.
Coach Millie Diemer / Stoeger[edit]
(Julie Brown in the film and series)
The school's athletics/physical education coach. Her task is to bring the Beverly Hills brats of Bronson Alcott into line on the sports field - never an easy task when the tennis ball serving machine is described (by Cher) as 'a lawsuit waiting to happen'.
In the film, the character's name is Ms. Stoeger, with a separate (and unseen) teacher referred to as 'Diemer'. However, in the TV series, the coach had become Ms. Diemer. No reference to the change of name was made on air.
See also[edit]
Emma#Principal_characters


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Jane Eyre (2011 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Jane Eyre
Jane Eyre Poster.jpg
British cinema poster

Directed by
Cary Joji Fukunaga
Produced by
Alison Owen
 Paul Trijbits
Screenplay by
Moira Buffini
Based on
Jane Eyre
 by Charlotte Brontë
Starring
Mia Wasikowska
Michael Fassbender
Judi Dench
Jamie Bell
Music by
Dario Marianelli
Cinematography
Adriano Goldman
Editing by
Melanie Oliver
Studio
Ruby Films
Distributed by
Universal Pictures (UK)
Focus Features (US)
Release dates
11 March 2011 (US)
9 September 2011 (UK)

Running time
120 minutes[1]
Country
United Kingdom
 United States
Language
English
 French
Box office
$34,710,627 [2]
Jane Eyre is a 2011 British romantic drama film directed by Cary Fukunaga and starring Mia Wasikowska and Michael Fassbender. The screenplay is written by Moira Buffini based on the 1847 novel of the same name by Charlotte Brontë. The film was released on 11 March 2011 in the United States and 9 September in Great Britain and Ireland.


Contents  [hide]
1 Plot
2 Main cast
3 Production 3.1 Casting
3.2 Filming
4 Release 4.1 Critical reception
5 Accolades
6 Historical context
7 See also
8 References
9 External links

Plot[edit]
The film begins with Jane Eyre running away from Thornfield Hall in the middle of the night and finding herself alone on the moors, in the pouring rain. She manages to reach the doorstep of Moor House, the home of Mr. St. John Rivers, a clergyman, and his two sisters. They take Jane in, saving her life.
There follows a flashback, to the ten-year-old Jane Eyre, an orphan, living with her maternal uncle's family, the Reeds, at Gateshead. Jane’s aunt, Sarah Reed, doesn't like Jane and is very cruel to her; Mrs. Reed's three children are also abusive towards her. One day, Jane is locked in the Red Room, where her uncle died, and which Jane believes is haunted. She knocks herself unconscious on the door, after a huge puff of smoke comes down the chimney. Jane's aunt sends her to Lowood School for Girls, which is run by a cruel clergyman, Mr. Brocklehurst. Mrs Reed tells him that Jane is a deceitful child and is not to be trusted. Jane tells her aunt how much she hates her and that she is a hard-hearted woman.
Jane arrives at Lowood. While another pupil, Helen Burns, is being beaten, Jane accidentally drops her tray. Mr. Brocklehurst brands her a liar and makes her stand on a chair all day. Jane and Helen become close friends, but Helen later dies of consumption (tuberculosis).
Eight years later, Jane leaves Lowood and takes up a post with Alice Fairfax of Thornfield Hall. She will be a governess to Adele Varens, a young French orphan girl. When she first arrives at Thornfield, a gloomy, isolated mansion, Jane mistakes Mrs. Fairfax for her employer, but she finds out that she is only the housekeeper for her absent master. While Jane is walking into town to post a letter, a horse passes her and throws its rider. Jane helps the gentleman to his horse. Later, back at the mansion, she learns that the horse rider is Edward Rochester, master of the house. He jokingly tells her that she must have bewitched his horse to make him fall. They gradually fall in love with one another.
One night, Jane is awoken by a strange noise at her door, only to find that Mr. Rochester's room is on fire, which the two of them manage to extinguish. He thanks her for saving his life and holds her hand affectionately. The next day, Rochester leaves Thornfield to visit Lady Blanche Ingram, his future wife; he brings her back to Thornfield with him a few weeks later. When a man named Richard Mason of Spanish Town, Jamaica, shows up, Jane can see that Rochester is disturbed. That night, a scream awakens everyone. Rochester assures his guests it is just a servant's reaction to a nightmare, but after they go back to their rooms, he secretly has Jane tend to a bleeding Mason while he fetches a doctor. Rochester has the doctor take Mason away.
Jane receives a letter from her old nurse, Bessie. Jane's cousin, John Reed, has committed suicide, the news of which has so shocked his mother, Sarah Reed, that it has brought on a stroke. Apparently, Mrs. Reed has been asking to see Jane. Jane returns to Gateshead, where her dying aunt shows her a letter from Jane's paternal uncle, John Eyre, asking for her to go to live with him in Madeira. He wants to adopt Jane and bequeath her at his death. Jane notices that the letter was dated three years ago. Mrs. Reed admits to telling her uncle that Jane had died of typhus at Lowood School. She tells Jane that she (Mrs. Reed) has been cursed by her. Jane forgives her aunt and returns to Thornfield, having begun a correspondence with John Eyre.
Jane informs Rochester that she must leave Thornfield due to his impending marriage to Blanche Ingram. However, Rochester suddenly proclaims his love for Jane and proposes to her; they kiss passionately. However, during the wedding ceremony, Mr. Mason appears, along with a lawyer, declaring that Mr. Rochester cannot marry Jane, because he is still married to Mr. Mason's sister, Bertha; he adds that his sister is still living at Thornfield Hall. Mr. Rochester admits this is true and takes Jane to meet his wife, calling her his own demon; they find her locked away in a room at Thornfield. Rochester tells Jane that his father wanted him to marry Bertha for her money. Once they were married, he discovered that she was rapidly descending into madness and was forced to lock her away in Thornfield; she was the one responsible for the strange happenings in the house. Refusing to go against her principles, and despite her love for Rochester, Jane leaves Thornfield in the middle of the night.
After Jane regains her health, St. John finds her a teaching position at a nearby charity school. One night, she hears knocking at her door and imagines it to be Rochester, but it turns out to be St. John at the door informing her that her uncle, John Eyre, has died, leaving her all his property and that she is rich, to the tune of £20,000 (approximately £690,000 today). Jane offers to share the money with St. John and his sisters, suggesting that they live together at Moor house; they agree to the offer. St. John asks Jane to marry him and go with him to India. Jane agrees to go to India with him, but rejects the marriage proposal, suggesting that they travel as brother and sister, as that's how she sees their relationship. On the moor, Jane suddenly hears Rochester's voice calling her name.
Jane returns to Thornfield, only to find the house a blackened ruin. She learns from Mrs. Fairfax that Rochester's wife set the house on fire and died, jumping from the roof. Jane finds Rochester, but in the rescue attempt he has lost his eyesight. Jane reunites with him and they embrace.
Main cast[edit]
Mia Wasikowska as Jane Eyre
Michael Fassbender as Edward Fairfax Rochester
Jamie Bell as St. John Rivers
Judi Dench as Mrs Fairfax
Sally Hawkins as Mrs Reed
Holliday Grainger as Diana Rivers
Tamzin Merchant as Mary Rivers
Simon McBurney as Mr Brocklehurst
Imogen Poots as Blanche Ingram
Sophie Ward as Lady Ingram
Jayne Wisener as Bessie Lee
Amelia Clarkson as young Jane
Romy Settbon Moore as Adele Varens
Freya Parks as Helen Burns
Harry Lloyd as Richard Mason
Valentina Cervi as Bertha Antoinetta Mason
Craig Roberts as John Reed
Production[edit]
The film was produced by Alison Owen's company Ruby Films, with financial support from BBC Films, Focus Features and Lipsynch Productions.[3] The script by Moira Buffini appeared on the 2008 Brit List, a film-industry-compiled list of the best unproduced screenplays in British film.[4] The story is largely presented by way of flashbacks.[5] In October 2009, it was announced that Cary Fukunaga would direct the adaptation.[6] Fukunaga had been in England promoting a film when he met with the BBC and learned about their plans for a new adaptation.[7] The filmmakers decided to play up the Gothic elements of the classic novel.[8] Fukunaga stated, "I’ve spent a lot of time rereading the book and trying to feel out what Charlotte Brontë was feeling when she was writing it. That sort of spookiness that plagues the entire story... there’s been something like 24 adaptations and it’s very rare that you see those sorts of darker sides. They treat it like it’s just a period romance and I think it’s much more than that."[9]
Casting[edit]
Mia Wasikowska starred as the title character and Michael Fassbender as Edward Rochester.[8] Fukunaga and the producers wanted an actress close to Jane Eyre's age in the novel, in contrast to many previous versions.[10][11] Fukunaga liked Wasikowska's "sense of observation in her eyes" and that "[she] could communicate [Jane's inner turmoil] in a way that didn't feel theatrical".[12][13] He felt her looks could be played down as required for the role.[12] On casting Rochester, the director stated that while there were actors closer in appearance, he felt Fassbender had the spirit of the character.[12] Jamie Bell, Judi Dench, Sally Hawkins, Simon McBurney, Imogen Poots, Holliday Grainger and Tamzin Merchant also joined the cast.[14][15]
Filming[edit]
Principal photography began on 22 March 2010 and concluded in mid-May.[16][17][18] Filming locations included London and various locations in Derbyshire and the Derbyshire Dales, including Chatsworth House, Haddon Hall, the village of Froggatt and the Fox House pub in Sheffield.[19][20][21] The score is composed by Academy Award winner Dario Marianelli.[22] Another Academy Award winner, Michael O'Connor, designed the costumes.[23] Although they estimated the setting was the late 1830s, they settled on four to five years later in 1843. Fukunaga commented that "the clothing style of the '30s was just awful. Every woman looked like a wedding cake." However, they decided to allow a few characters in older fashions to reflect that some would not have updated their style.[24] He looked at some 60 residences for one to represent Thornfield Hall but settled on Haddon Hall as it had not undergone much redecorating;[13] the same location was also used in the 2006 BBC version of Jane Eyre. The conditions were very cold and Fukunaga admitted that Wasikowska nearly got hypothermia on the second day while shooting the rain sequence; however, he could not imagine filming anywhere else, saying "Northern England – Yorkshire and Derbyshire, the moors and dales – they look like they’re something straight out of a Tim Burton horror film. The trees are all twisted by the wind; the bracken and the heather on the moors have this amazing hue. And the weather is so extreme and it changes all the time. The house even, Haddon Hall, is just so steeped in history, the spaces, the galleries, they sort of just breathe and you feel the presence of the history."[25] Key scenes were filmed in Broughton Castle.
Release[edit]
The film had a limited release on four screens in the United States on 11 March 2011. It grossed $182,885, for a per cinema average of $45,721[2] – the best speciality debut of 2011.[26] As of 14 July 2011, its North American total stood at $11,242,660.[2] After the US, it was released in a number of countries during the spring and summer of 2011, but not until 9 September was it released in the United Kingdom and Ireland. In its opening week, Jane Eyre moved to third place in the UK box office, behind The Inbetweeners Movie and Friends with Benefits.
Critical reception[edit]
Review aggregator Rotten Tomatoes reports that 86% of 138 critical reviews are favourable.[27] The site's consensus is that "Cary Fukunaga directs a fiery and elegant adaptation, while Mia Wasikowska delivers possibly the best portrayal of the title character ever."[28]
A. O. Scott made the film an "NYT Critics' Pick", saying "This Jane Eyre, energetically directed by Cary Joji Fukunaga (Sin Nombre) from a smart, trim script by Moira Buffini (Tamara Drewe), is a splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie. Neither a radical updating nor a stiff exercise in middlebrow cultural respectability, Mr. Fukunaga's film tells its venerable tale with lively vigor and an astute sense of emotional detail."[29]
Richard Corliss of Time named Mia Wasikowska's performance one of the Top 10 Movie Performances of 2011.[30]
Accolades[edit]

Year of ceremony
Award
Category
Recipient(s)
Result
2011 National Board of Review Awards[31] Spotlight Award Michael Fassbender (Also for Shame, A Dangerous Method, and X-Men: First Class) Won
Satellite Awards Best Costume Design Michael O'Connor Nominated
British Independent Film Awards[32] Best Actress Mia Wasikowska Nominated
Los Angeles Film Critics Association Awards Best Actor Michael Fassbender (Also for Shame, A Dangerous Method, and X-Men: First Class) Won
2012 Central Ohio Film Critics Association Awards[33] Actor of the Year Michael Fassbender (Also for Shame, A Dangerous Method, and X-Men: First Class) Nominated
Goya Awards[34] Best European Film  Nominated
Australian Academy of Cinema and Television Arts Award[35] Best Actress - International Mia Wasikowska Nominated
Evening Standard British Film Awards[36] Best Actor Michael Fassbender (Also for Shame) Won
London Film Museum Award for Technical Achievement Michael O'Connor Nominated
BAFTA Awards[37] Costume Design Michael O'Connor Nominated
Academy Award[38] Best Costume Design Michael O'Connor Nominated
Sant Jordi Award Best Foreign Actor Michael Fassbender (Also for A Dangerous Method and X-Men: First Class) Won
Historical context[edit]
The original Jane Eyre novel has been described by historian David Hackett Fischer as evocative of a cultural and geographic milieu of the North Midlands of England that in the mid-17th century had produced the Religious Society of Friends, a Protestant religious sect. Many members of this sect immigrated to North America and settled the Delaware Valley in the late 17th and early 18th century.[39] This geographical area had for many centuries contained a significant population of Scandinavian-descended people who were oppressed by and resisted the Norman Conquest based in French Catholicism (the Gothic feature in Jane Eyre, represented by Edward Rochester) and had remained distinct from the Anglo-Saxon culture that produced the Puritan sect (the evangelical Calvinist feature in Jane Eyre, variants of which are represented by Brocklehurst and St. John).[40] The Jane Eyre character's examined inner soul and self with some emotional availability and overtones of a Communitarian Christianity, view of women as equals to men in economic and political rights and responsibility, and power of dissent and civil disobedience are features of Religious Society of Friends political and cultural views. These views later informed the drafting of the United States Constitution including its concept of Person, as embodied in drafting done by John Dickinson, who was of this cultural and political ancestry and represented the Delaware Valley at the U.S. Constitutional Convention.[41] In this 2011 film adaptation of the novel, Judi Dench, who comes from this cultural and religious background, played the character of Mrs. Alice Fairfax.
See also[edit]

Portal icon films portal
Jane Eyre (character)
Brontë family
References[edit]
1.Jump up ^ "Jane Eyre (PG)". British Board of Film Classification. 21 March 2011. Retrieved 24 September 2011.
2.^ Jump up to: a b c "Jane Eyre (2011)". Box Office Mojo. Retrieved 20 January 2012.
3.Jump up ^ BFI: Jane Eyre Linked 2013-12-24
4.Jump up ^ Thomas, Archie (3 October 2008). "Brit List brings scripts to light". Variety (Reed Business Information). Retrieved 8 April 2010.
5.Jump up ^ McGrath, Charles (4 March 2011). "Another Hike on the Moors for ‘Jane Eyre’". The New York Times. Retrieved 10 March 2011.
6.Jump up ^ Jaafar, Ali (20 October 2009). "Fukunaga near 'Jane Eyre' redo". Variety. Retrieved 18 March 2010.
7.Jump up ^ Coombs, Molly J. (12 March 2011). "Jane Eyre director Cary Fukunaga and star Mia Wasikowska – The Blast Interview". BLAST (magazine). Retrieved 12 March 2011.
8.^ Jump up to: a b Jaafar, Ali (19 November 2009). "Wasikowska in talks for 'Jane Eyre'". Variety. Retrieved 18 March 2010.
9.Jump up ^ Buchanan, Kyle (10 March 2010). "Director Cary Fukunaga on the 'Darker Sides' of His Upcoming Jane Eyre". Movieline. Retrieved 18 March 2010.
10.Jump up ^ Hoyle, Ben (24 April 2010). "Brooding Brontës replace Austen as ‘bonnet drama’ returns". The Times. Retrieved 27 April 2010.
11.Jump up ^ Rea, Steven (20 March 2011). "On Movies: 'Jane Eyre' role a dream come true for Wasikowska". The Philadelphia Inquirer. Retrieved 22 March 2011.
12.^ Jump up to: a b c Chai, Barbara (10 March 2011). "Does ‘Jane Eyre’ Do Justice to the Book?". The Wall Street Journal. Retrieved 10 March 2011.
13.^ Jump up to: a b Portman, Jamie (28 March 2011). "From Sin Nombre to Jane Eyre". Postmedia News. Canada.com. Retrieved 16 April 2011.
14.Jump up ^ "Production begins on Jane Eyre". 19 March 2010. Retrieved 19 March 2010.
15.Jump up ^ Kit, Borys (10 February 2010). "'Jane Eyre' adaptation attracts cast". Hollywood Reporter. Retrieved 18 March 2010.
16.Jump up ^ "Michael Fassbender Finds his ‘Jane Eyre’". Irish Film and Television Network. 12 March 2010. Retrieved 18 March 2010.
17.Jump up ^ "Production begins on Jane Eyre". BBC. 19 March 2010. Retrieved 21 May 2010.
18.Jump up ^ "New BBC One drama, Helena Bonham Carter and Freddie Highmore star in Toast". BBC. 21 May 2010. Retrieved 21 May 2010.
19.Jump up ^ Mallett, Chris (26 March 2011). "Haddon Hall 'secrets' charmed directors". Derby Telegraph. Retrieved 29 March 2011.
20.Jump up ^ "Top actors heading here to shoot new Jane Eyre movie". Derby Telegraph. 7 April 2010. Retrieved 8 April 2010.
21.Jump up ^ Dawes, Martin (24 March 2010). "It's not Lark Rise to Grindleford!". thestar.co.uk. Retrieved 8 April 2010.
22.Jump up ^ "Dario Marianelli scoring new ‘Jane Eyre’ adaptation". Film Music Reporter. 22 December 2010. Retrieved 31 December 2010.
23.Jump up ^ Bruce, Leslie (13 March 2011). "'Jane Eyre' Costume Designer Reveals Secrets Behind Mia Wasikowska's Wardrobe". The Hollywood Reporter. Retrieved 14 March 2011.
24.Jump up ^ Gantz, Jeffrey (17 March 2011). "Jane Eyre redux". The Portland Phoenix. Retrieved 17 March 2011.
25.Jump up ^ King, Dennis (15 April 2011). "Forbidding setting, climate make ‘Jane Eyre’ production daunting". Wimgo. Retrieved 16 April 2011.
26.Jump up ^ Knegt, Peter (13 March 2011). "Box Office: "Jane Eyre" Gives 2011 Its Best Specialty Debut". indieWire. Retrieved 13 March 2011.
27.Jump up ^ "Jane Eyre (2011)". Rotten Tomatoes. Retrieved 10 April 2011.
28.Jump up ^ "Jane Eyre (2011): Top Critics". Rotten Tomatoes. Retrieved 7 April 2011.
29.Jump up ^ Scott, A. O. (10 March 2011). "Radiant Spirit Blossoms in Barren Land". The New York Times. Retrieved 9 September 2011.
30.Jump up ^ Corliss, Richard (7 December 2011). "The Top 10 Everything of 2011 – Mia Wasikowska for Jane Eyre". Time. Retrieved 13 December 2011.
31.Jump up ^ "National Board of Review Announces 2011 Awards; HUGO Takes Top Prize". WeAreMovieGeeks.com. Retrieved 2 December 2011.
32.Jump up ^ "Nominations and jury revealed for the Moët British Independent Film Awards". BIFA.org. Retrieved 23 December 2011.
33.Jump up ^ "Central Ohio Film Critics Nominations". AwardsDaily. Retrieved 1 January 2012.
34.Jump up ^ "Goya Awards 2012: Finalists". Goya Awards. Retrieved 11 January 2012.
35.Jump up ^ "AACTA International Award Nominees Announced". AACTA. Retrieved 15 January 2012.
36.Jump up ^ "‘Shame’ leads the pack at the Evening Standard Film Awards Nominations!". Evening Standard. Retrieved 6 February 2012.
37.Jump up ^ "BAFTA Film Awards Nominations in 2012". BAFTA. Retrieved 19 January 2012.
38.Jump up ^ "Hugo leads 2012 Oscar Nominations with 11". Oscars. Retrieved 26 January 2012.
39.Jump up ^ Fischer, David Hackett (1989). Albion's Seed: Four British Folkways in America. Oxford University Press. p. 445. ISBN 978-0-19-506905-1.
40.Jump up ^ Template:Id. at cite book
41.Jump up ^ Calvert, Jane (2009). Quaker Constitutionalism and the Political Thought of John Dickinson. Cambridge University Press. ISBN 978-0-521-88436-5.
External links[edit]
 Wikiquote has a collection of quotations related to: Jane Eyre (2011 film)
Jane Eyre in the British Film Institute's "Explore film..." database
Jane Eyre at the Internet Movie Database
Jane Eyre at allmovie
Jane Eyre at Box Office Mojo
Jane Eyre at Rotten Tomatoes
Jane Eyre at Metacritic
Review at JaneEyre.net


[hide]
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Jane Eyre by Charlotte Brontë


Characters
Jane Eyre (character) ·
 Bertha Mason
 

Setting
Thornfield Hall
 

Films
Jane Eyre (1934) ·
 Jane Eyre (1943) ·
 Sangdil (1952) ·
 Jane Eyre (1970) ·
 Jane Eyre (1996) ·
 Jane Eyre (1997) ·
 Jane Eyre (2011)
 

Television
Jane Eyre (1956) ·
 Jane Eyre (1973) ·
 El Ardiente Secreto (1978) ·
 Jane Eyre (1983) ·
 Jane Eyre (2006)
 

Music
Jane Eyre (musical)
 

Related works
Wide Sargasso Sea (novel) ·
 Wide Sargasso Sea (film) ·
 Wide Sargasso Sea (TV) ·
 The Eyre Affair
 

See also
Adaptations of Jane Eyre
 

 


Categories: 2011 films
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Films about orphans
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Wuthering Heights
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For other uses, see Wuthering Heights (disambiguation).

Wuthering Heights
Wuthering.jpg
Title page of the first edition

Author
Emily Brontë
Country
United Kingdom
Language
English
Genre
Gothic novel
Publisher
Thomas Cautley Newby

Publication date
 December 1847

Published in English
 1847
Media type
Print (hardback)
Pages
260 (Penguin classics 1994 edition)
ISBN
ISBN 978-1-932535-14-3 (facsimile edition, Washington [D.C.] : Orchises, 2007), ISBN 0-14-043001-6 (Harmondsworth : Penguin, 1965), ISBN 978-0-14-062012-2 (London : Penguin 1994)
OCLC
71126926
Dewey Decimal
823/.8 22
LC Class
PR4172 .W7 2007
Wuthering Heights is a novel by Emily Brontë, written between October 1845 and June 1846,[1] and published in 1847 under the pseudonym Ellis Bell. It was her first and only published novel: she died the following year, at age 30. The decision to publish came after the success of her sister Charlotte's novel, Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850.[2]
Wuthering Heights is the name of the farmhouse on the Yorkshire moors where the story unfolds. The book's core theme is the destructive effect that jealousy and vengefulness have, both on the jealous or vengeful individuals and on their communities.
Although Wuthering Heights is now widely regarded as a classic of English literature, it received mixed reviews when first published, and was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality.[3][4] The English poet and painter Dante Gabriel Rossetti referred to it as a "fiend of a book — an incredible monster."[5]
In the second half of the 19th century, Charlotte Brontë's Jane Eyre was considered the best of the Brontë sisters' works, but later critics argued that Wuthering Heights was superior.[6] Wuthering Heights has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and Frédéric Chaslin), a role-playing game[citation needed], and a 1978 song by Kate Bush.


Contents  [hide]
1 Plot 1.1 Opening (chapters 1 to 3)
1.2 Heathcliff's childhood (chapters 4 to 17)
1.3 Heathcliff's maturity (chapters 18 to 31)
1.4 Ending (chapters 32 to 34)
2 Characters 2.1 Relationships map
3 Timeline
4 Themes 4.1 Passion
4.2 Gothic
5 Publication 5.1 1847 edition
5.2 1850 edition
6 Inspiration for locations
7 Critical response 7.1 Early reviews (1847–1848)
8 References in culture
9 Adaptations
10 Works inspired
11 Notes
12 References
13 Bibliography
14 External links

Plot[edit]
Opening (chapters 1 to 3)[edit]
In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thrushcross Grange in the north for peace and recuperation. He visits his landlord, Mr Heathcliff, who lives in a remote moorland farmhouse, "Wuthering Heights," where he finds an odd assemblage: Heathcliff seems to be a gentleman, but his manners are uncouth; the reserved mistress of the house is in her mid-teens; and a young man seems to be a family member yet dresses and speaks like a servant.
Snowed in, Lockwood is grudgingly allowed to stay and is shown to a bedchamber where he notices books and graffiti left by a former inhabitant named Catherine. He falls asleep and has a nightmare in which he sees the ghostly Catherine trying to enter through the window. He cries out in fear, rousing Heathcliff who rushes to the room. Lockwood was convinced that what he saw was real. Heathcliff, believing Lockwood to be right, examines the window and opens it hoping to allow Catherine's spirit to enter. When nothing happens, Heathcliff shows Lockwood to his own bedroom and returns to keep watch at the window.
At sunrise, Heathcliff escorts Lockwood back to Thrushcross Grange. Lockwood asks the housekeeper, Nelly Dean, about the family at Wuthering Heights, and she tells him the tale.
Heathcliff's childhood (chapters 4 to 17)[edit]
Thirty years earlier, Wuthering Heights is occupied by Mr Earnshaw, his teenage son Hindley, and his daughter Catherine. On a trip to Liverpool, Earnshaw encounters a homeless boy described as "dark-skinned gypsy in aspect". He adopts the boy and names him Heathcliff. Hindley feels that Heathcliff supplanted him in his father's affections and becomes bitterly jealous. Catherine and Heathcliff become friends and spend hours each day playing on the moors. They grow close.
Hindley is sent to college. Three years later, Earnshaw dies and Hindley becomes the master of Wuthering Heights. He returns to live there with his new wife, Frances. He allows Heathcliff to stay but only as a servant.



 The climb to Top Withens, thought to have inspired the Earnshaw's home in Wuthering Heights.
A few months after Hindley's return, Heathcliff and Catherine walk to Thrushcross Grange to spy on the Lintons who were living there. After being discovered, they tried to run away but are caught. Catherine was injured by the Lintons' dog and is taken into the house to recuperate while Heathcliff is sent home. Catherine stays with the Lintons and was influenced by their fine appearance and genteel manners. When she returns to Wuthering Heights, her appearance and manners are more ladylike and she laughs at Heathcliff's unkempt appearance. The next day, knowing that the Lintons would visit, Heathcliff tries to dress up in an effort to impress Catherine, but he and Edgar Linton get into an argument and Hindley humiliates Heathcliff by locking him in the attic. Catherine tries to comfort Heathcliff, but he vows revenge on Hindley.
The following year, Frances Earnshaw gives birth to a son, named Hareton, but dies a few months later. Hindley descends into drunkenness. Two more years pass and Catherine and Edgar Linton eventually become friends while she becomes more distant from Heathcliff. While Hindley is away, Edgar visits Catherine, and they declare themselves lovers soon after.
Catherine confesses to Nelly that Edgar proposed, that she accepted, and that this is despite the fact that she does not love Edgar—she loves Heathcliff, but cannot marry him because of his low social status and lack of education. She hopes to use her position as Edgar's wife to raise Heathcliff's standing. Heathcliff overhears this, and in despair he runs away and disappears without a trace. Distraught by Heathcliff's departure, Catherine makes herself ill out of spite. Nelly and Edgar thus begin to pander to her every whim to prevent her from becoming ill again. Three years pass, Edgar and Catherine marry, and live together at Thrushcross Grange.
Six months later, Heathcliff returns, now a wealthy gentleman. Catherine is delighted; Edgar is not. Edgar's sister, Isabella, soon falls in love with Heathcliff, who despises her but encourages the infatuation as a means of revenge. One day, he embraces Isabella, leading to an argument with Edgar. Upset, Catherine locks herself in her room, and begins to make herself ill again through spite and jealousy.
Heathcliff takes up residence at Wuthering Heights, and spends his time gambling with Hindley and teaching Hareton bad habits. Hindley dissipates his wealth and mortgages the farmhouse to Heathcliff to pay his debts. Heathcliff elopes with Isabella Linton; two months later the couple returns to Wuthering Heights. Heathcliff hears that Catherine is ill and, with Nelly's help, visits her secretly. However, Catherine is pregnant, and the following day she gives birth to a daughter, Cathy, shortly before dying.
After Catherine's funeral, Isabella leaves Heathcliff and takes refuge in the south of England. She too is pregnant, and gives birth to a son, Linton. Hindley dies six months after Catherine, and Heathcliff thus finds himself master of Wuthering Heights.
Heathcliff's maturity (chapters 18 to 31)[edit]



 Brontë Society plaque at Top Withens
After twelve years, Catherine and Edgar's daughter Cathy grows into a beautiful, high-spirited girl. Edgar learns his sister Isabella is dying, and so he leaves to retrieve her son Linton in order to adopt and educate him. Although Cathy rarely leaves the borders of the Grange, she takes advantage of her father's absence to venture farther afield. She walks to the moors where she meets Hareton, and from him learns of Wuthering Heights and discovers she has not one, but two cousins: Hareton in addition to Linton.
When Edgar returns with Linton, a weak and sickly boy, Cathy wants him to stay but Heathcliff insists that he live at Wuthering Heights instead.
Three years pass. Walking on the moors, Nelly and Cathy encounter Heathcliff, who takes them to Wuthering Heights to meet Linton and Hareton. Heathcliff hopes that Linton and Cathy will marry, so that Linton would become the heir to Thrushcross Grange. Linton and Cathy begin a secret friendship, echoing the childhood friendship between their respective parents, Heathcliff and Catherine.
The following year, Edgar becomes very ill. He takes a turn for the worse when Nelly and Cathy are visiting Wuthering Heights. Heathcliff prevents them from leaving and keeps them captive to encourage Cathy and Linton's courtship and to deny Edgar the chance to see his daughter before he dies. After five days, with Linton's help, Cathy escapes. She returns to the Grange to see her father shortly before he dies.
As master of Wuthering Heights and Thrushcross Grange, Heathcliff forces Cathy to live with him and Hareton. Soon after she arrives, Linton dies. Hareton tries to be kind to Cathy, but she retreats and then withdraws from the world.
At this point, Lockwood arrives and Nelly's tale catches up to the present day. Some time passes, and after being ill for an extended period, Lockwood grows bored with the moors and informs Heathcliff that he will be departing from Wuthering Heights.
Ending (chapters 32 to 34)[edit]
Eight months later, Lockwood returns to the area by chance. Given that his tenancy at Thrushcross Grange is still valid, he decides to stay there again. He finds Nelly living at Wuthering Heights and inquires about what had happened since he left.
She explains that she moved to Wuthering Heights to replace the housekeeper, Zillah, who had departed. She explains that Hareton had an accident and was confined to the farmhouse. During his convalescence, he and Cathy became close. While their friendship developed, Heathcliff began to act strangely and had visions of Catherine. He stopped eating and after four days was found dead in Catherine's old room. He was buried next to Catherine.
Lockwood learns that Hareton and Cathy plan to marry on New Year's Day. As he readies to leave, he passes the graves of Catherine, Edgar, and Heathcliff, and pauses to contemplate the quiet of the moors.
Characters[edit]



 Family treeHeathcliff: Found, presumably orphaned, on the streets of Liverpool and taken to Wuthering Heights by Mr Earnshaw and reluctantly cared for by the family. He and Catherine grew close. Their love is the central theme of the first volume. His revenge against the man she chose to marry and its consequences are the central theme of the second volume. Heathcliff has been considered as a Byronic hero, but critics have pointed out that he re-invents himself at various points, making his character hard to fit into any single "type." Because of his ambiguous position in society and his lack of status—underlined by the fact that "Heathcliff" serves as his given name; he has no surname—his character has been a favourite subject of Marxist criticism.[7]
Catherine Earnshaw: First introduced to the reader after her death, through Lockwood's discovery of her diary and carvings. The description of her life is confined almost entirely to the first volume. She seems unsure whether she is—or wants to become—more like Heathcliff, or more like Edgar. It is as if she wants both, even perhaps cannot be fully herself without both, and yet society or human nature makes that impossible. Some critics have argued that her decision to marry Edgar Linton is allegorically a rejection of nature and a surrender to culture—a choice with fateful consequences for all the other characters. Literary critics have examined her character through many different lenses, including those of psychoanalytic theory and feminist theory.[8]
Edgar Linton: Introduced as a child in the Linton family, he resides at Thrushcross Grange. Edgar's style and manners are in sharp contrast to Heathcliff's, who instantly dislikes him, and Catherine, who is drawn to him. Catherine marries him instead of Heathcliff because of his higher social status, with disastrous results. From the perspective of feminist theory, this exemplifies the problems inherent in a social structure in which women can gain prestige and financial security only through marriage.
Nelly Dean: The main narrator of the novel, Nelly is a servant for all three generations of the Earnshaw and Linton families. In a sense, she straddles the "culture versus nature" divide. She is humbly born and has lived and worked amid the rough manners of Wuthering Heights, but is an educated woman who has experienced the more genteel manners of Thrushcross Grange. She is referred to as Ellen—her given name—to show respect, and as Nelly among those close to her. Nelly comes across as an unbiased narrator. Critics have discussed how far her actions (as an apparent bystander) affect the other characters.[9]
Isabella Linton: Introduced as part of the Linton family, Isabella is only shown in relation to other characters. She views Heathcliff as a romantic hero, despite Catherine warning her against such a view, and becomes an unwitting participant in his plot for revenge against Edgar. Heathcliff marries her, but treats her abusively. Pregnant, she escapes to London and gives birth to a son, Linton. Because she, unlike Catherine, suffered such abuse from her husband and ultimately escaped from it, many critics—particularly feminist-theory critics—consider Isabella the true (conventional) "tragic-romantic" heroine of Wuthering Heights.
Hindley Earnshaw: Catherine's elder brother, Hindley despises Heathcliff immediately and bullies him throughout their childhood before his father sends him away to college. Hindley returns with his wife, Frances, after Mr Earnshaw dies. He is far more mature now but his hatred of Heathcliff remains the same. After Frances' death, Hindley is caught in a downward spiral of destructive behaviour, and ruins the Earnshaw family by drinking and gambling to excess. Heathcliff beats up Hindley at one point where he attempts to kill him with a pistol.
Hareton Earnshaw: The son of Hindley and Frances, at first raised by Nelly, but soon by Heathcliff. Nelly works to instill a sense of pride in the Earnshaw heritage (even though Hareton will not inherit Earnshaw property, because Mr Earnshaw mortgaged it to Heathcliff). Heathcliff, in contrast, taught him vulgarities as a way of avenging himself on his father, Hindley. Hareton speaks with an accent similar to Joseph's, and works as a servant at Wuthering Heights, unaware of his true rights. His appearance reminds Heathcliff of Catherine.
Cathy Linton: The daughter of Catherine Earnshaw and Edgar Linton is a spirited girl unaware of her parents' history. Edgar is very protective of her and as a result she is constantly wanting to discover what lies beyond the confines of the Grange.
Linton Heathcliff: The son of Heathcliff and Isabella is a weak child. His character resembles Heathcliff's, but without its only redeeming feature; the capacity to love. He marries Cathy Linton because his father directs him to do so. His early years are spent with his mother in the south of England. He learns of his father's identity and existence only after his mother dies, as he enters his teens.
Joseph: A servant at Wuthering Heights who is hypocritical and self-righteous, while masquerading as a Christian. He speaks with a very thick Yorkshire accent.
Lockwood: The first narrator, he rents Thrushcross Grange to escape society, but in the end decides that society is preferable to a situation in which one might end up being like Heathcliff. He narrates the book until Chapter 4, when the main narrator, Nelly, picks up the tale.
Frances: A generally amiable character, she is Hindley's wife and gives birth to Hareton Earnshaw.
Zillah: A servant to Heathcliff at Wuthering Heights during the period following Catherine's death.
Relationships map[edit]




Key:
black line: son or daughter of; if dotted it means adoption
red line: wedding; if double it means second wedding
pink line: love
blue line: affection
green line: hate
light yellow area: plot-driving characters
violet area: external observers
Timeline[edit]
1500: The stone above the front door of Wuthering Heights, bearing the name of Hareton Earnshaw, is inscribed, possibly to mark the completion of the house.
1757: Hindley Earnshaw born (summer)
1762: Edgar Linton born
1765: Catherine Earnshaw born (summer); Isabella Linton born (late 1765)
1771: Heathcliff brought to Wuthering Heights by Mr Earnshaw (late summer)
1773: Mrs Earnshaw dies (spring)
1774: Hindley sent off to college
1777: Hindley marries Frances; Mr Earnshaw dies and Hindley comes back (October); Heathcliff and Catherine visit Thrushcross Grange for the first time; Catherine remains behind (November), and then returns to Wuthering Heights (Christmas Eve)
1778: Hareton born (June); Frances dies
1780: Heathcliff runs away from Wuthering Heights; Mr and Mrs Linton both die
1783: Catherine has married Edgar (March); Heathcliff comes back (September)
1784: Heathcliff marries Isabella (February); Catherine dies and Cathy born (20 March); Hindley dies; Linton Heathcliff born (September)
1797: Isabella dies; Cathy visits Wuthering Heights and meets Hareton; Linton brought to Thrushcross Grange and then taken to Wuthering Heights
1800: Cathy meets Heathcliff and sees Linton again (20 March)
1801: Cathy and Linton are married (August); Edgar dies (August); Linton dies (September); Mr Lockwood goes to Thrushcross Grange and visits Wuthering Heights, beginning his narrative
1802: Mr Lockwood goes back to London (January); Heathcliff dies (April); Mr Lockwood comes back to Thrushcross Grange (September)
1803: Cathy plans to marry Hareton (1 January)
Themes[edit]
Passion[edit]
Author Joyce Carol Oates sees the novel as "an assured demonstration of the finite and tragically self-consuming nature of 'passion'."[10]
Gothic[edit]
In "Emily Brontë and the Gothic: Female Characters in Wuthering Heights", Yukari Oda discusses Bronte's use of Gothic conventions in portraying Isabella, Cathy Linton, and Catherine Earnshaw.[11] Catherine Earnshaw has been identified as a literary "type" of Gothic demon in that she "shape-shifts" in order to marry Edgar Linton, assuming a domesticity contrary to her nature.[12] Catherine’s relationship with Heathcliff conforms to the "dynamics of the Gothic romance, in that the woman falls prey to the more or less demonic instincts of her lover, suffers from the violence of his feelings and at the end is entangled by his thwarted passion."[13]
Publication[edit]
1847 edition[edit]
The original 1847 text is available online in two parts, as published by Thomas Cautley Newby.[14][15]
1850 edition[edit]
In 1850 a second edition of Wuthering Heights was due for republishing, Charlotte Brontë edited the original text published by Thomas Cautley Newby, including punctuation, spelling errors and Joseph's thick Yorkshire dialect. Writing to her publisher W.S. Williams, she mentions that "It seems to me advisable to modify the orthography of the old servant Joseph’s speeches; for though, as it stands, it exactly renders the Yorkshire dialect to a Yorkshire ear, yet I am sure Southerns must find it unintelligible; and thus one of the most graphic characters in the book is lost on them." An essay written by Irene Wiltshire on dialect and speech in the novel compares some of the edits Charlotte made to the original 1847 edition.[16]
Inspiration for locations[edit]



High Sunderland Hall in 1818, shortly before Emily Brontë saw the building.
Several theories exist about which building was the inspiration for Wuthering Heights. One is Top Withens, a ruined farmhouse located in an isolated area near the Haworth Parsonage. Because its structure does not match that of the farmhouse described in the novel, it is considered less likely to be the model.[17] Top Withens was first suggested as the model for the fictitious farmhouse by Ellen Nussey, a friend of Charlotte Brontë, to Edward Morison Wimperis, a commissioned artist for the Brontë sisters' novels in 1872.[18]
The second possibility is the now demolished High Sunderland Hall, near Halifax, West Yorkshire.[17] This Gothic edifice was located near Law Hill, where Emily worked briefly as a governess in 1838. While very grand for the farmhouse of Wuthering Heights, the hall had grotesque embellishments of griffins and misshapen nude men similar to those described by Lockwood in chapter one of the novel:
"Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door, above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date '1500'."
The inspiration for Thrushcross Grange has been traditionally connected to Ponden Hall, near Haworth, which is very small. Shibden Hall, near Halifax, is a more likely possibility.[19][20] The Thrushcross Grange that Emily describes is rather unusual. It sits within an enormous park as does Shibden Hall. By comparison, the park at Chatsworth (the home of the Duke of Devonshire) is over two miles (3.2 km) long but, as the house sits near the middle, it is no more than a mile and a half (2.4 km) from the lodge to the house. Considering that Edgar Linton apparently did not even have a title, this seems rather unlikely. There is no building close to Haworth which has a park anywhere near this size but a few houses which might have inspired some elements. Shibden Hall has several features which match the descriptions in the novel.
Critical response[edit]
Early reviews (1847–1848)[edit]
Early reviews of Wuthering Heights were mixed in their assessment. Whilst most critics at the time recognised the power and imagination of the novel, they were also baffled by the storyline and found the characters extremely forward and uninhibited for Victorian times.[note 1] Published in 1847, at a time when the background of the author was deemed to have an important impact on the story itself, many critics were also intrigued by the authorship of the novels.[note 2] Henry Chorley of the Athenæum said that it was a "disagreeable story" and that the "Bells" (Brontës) "seem to affect painful and exceptional subjects".
The Atlas review called it a "strange, inartistic story," but commented that every chapter seems to contain a "sort of rugged power." Atlas summarized the novel by writing: "We know nothing in the whole range of our fictitious literature which presents such shocking pictures of the worst forms of humanity. There is not in the entire dramatis persona, a single character which is not utterly hateful or thoroughly contemptible ... Even the female characters excite something of loathing and much of contempt. Beautiful and loveable in their childhood, they all, to use a vulgar expression, "turn out badly"."[21]
Graham's Lady Magazine wrote "How a human being could have attempted such a book as the present without committing suicide before he had finished a dozen chapters, is a mystery. It is a compound of vulgar depravity and unnatural horrors."[21]
The American Whig Review wrote "Respecting a book so original as this, and written with so much power of imagination, it is natural that there should be many opinions. Indeed, its power is so predominant that it is not easy after a hasty reading to analyze one's impressions so as to speak of its merits and demerits with confidence. We have been taken and carried through a new region, a melancholy waste, with here and there patches of beauty; have been brought in contact with fierce passions, with extremes of love and hate, and with sorrow that none but those who have suffered can understand. This has not been accomplished with ease, but with an ill-mannered contempt for the decencies of language, and in a style which might resemble that of a Yorkshire farmer who should have endeavored to eradicate his provincialism by taking lessons of a London footman. We have had many sad bruises and tumbles in our journey, yet it was interesting, and at length we are safely arrived at a happy conclusion."[22]
Douglas Jerrold's Weekly Newspaper wrote "Wuthering Heights is a strange sort of book,—baffling all regular criticism; yet, it is impossible to begin and not finish it; and quite as impossible to lay it aside afterwards and say nothing about. In Wuthering Heights the reader is shocked, disgusted, almost sickened by details of cruelty, inhumanity, and the most diabolical hate and vengeance, and anon come passages of powerful testimony to the supreme power of love – even over demons in the human form. The women in the book are of a strange fiendish-angelic nature, tantalising, and terrible, and the men are indescribable out of the book itself. Yet, towards the close of the story occurs the following pretty, soft picture, which comes like the rainbow after a storm....We strongly recommend all our readers who love novelty to get this story, for we can promise them that they never have read anything like it before. It is very puzzling and very interesting, and if we had space we would willingly devote a little more time to the analysis of this remarkable story, but we must leave it to our readers to decide what sort of book it is."[23]
New Monthly Magazine wrote "Wuthering Heights, by Ellis Bell, is a terrific story, associated with an equally fearful and repulsive spot… Our novel reading experience does not enable us to refer to anything to be compared with the personages we are introduced to at this desolate spot – a perfect misanthropist's heaven."[24]
Tait’s Edinburgh Magazine wrote "This novel contains undoubtedly powerful writing, and yet it seems to be thrown away. Mr. Ellis Bell, before constructing the novel, should have known that forced marriages, under threats and in confinement are illegal, and parties instrumental thereto can be punished. And second, that wills made by young ladies' minors are invalid. The volumes are powerfully written records of wickedness and they have a moral – they show what Satan could do with the law of Entail."[24]
Examiner wrote "This is a strange book. It is not without evidences of considerable power: but, as a whole, it is wild, confused, disjointed, and improbable; and the people who make up the drama, which is tragic enough in its consequences, are savages ruder than those who lived before the days of Homer."[23]
Literary World wrote "In the whole story not a single trait of character is elicited which can command our admiration, not one of the fine feelings of our nature seems to have formed a part in the composition of its principal actors. In spite of the disgusting coursness of much of the dialogue, and the improbabilities of much of the plot, we are spellbound."[25]
Britannia called it a "strangely original" book that depicts "humanity in this wild state." Although mostly hostile, it notes that the book is "illuminated by some gleams of sunshine towards the end which serve to cast a grateful light on the dreary path we have traveled."[26]
References in culture[edit]
Main article: List of Wuthering Heights references
Adaptations[edit]
Main article: Adaptations of Wuthering Heights
The earliest known film adaptation of Wuthering Heights was filmed in England and directed by A. V. Bramble. It is unknown if any prints still exist.[27] The most famous was 1939's Wuthering Heights, starring Laurence Olivier and Merle Oberon and directed by William Wyler. This adaptation, like many others, eliminated the second generation's story (young Cathy, Linton and Hareton). It won the 1939 New York Film Critics Circle Award for Best Film and was nominated for the 1939 Academy Award for Best Picture.
The 1970 film with Timothy Dalton as Heathcliff is the first colour version of the novel, and gained acceptance over the years though it was initially poorly received. The character of Hindley is portrayed much more sympathetically, and his story-arc is altered. It also subtly suggests that Heathcliff may be Cathy's illegitimate half-brother.
In 1978 the BBC produced a five part TV serialisation of the book starring Ken Hutchinson, Kay Adshead and John Duttine with music by Carl Davis; it is considered one of the most faithful adaptations of Emily Bronte's story.
The 1992 film Emily Brontë's Wuthering Heights starring Ralph Fiennes and Juliette Binoche is notable for including the oft-omitted second generation story of the children of Cathy, Hindley and Heathcliff.
Recent film or TV adaptations include ITV's 2009 two part drama series starring Tom Hardy, Charlotte Riley, Sarah Lancashire, and Andrew Lincoln.[28] and the 2011 film starring Kaya Scodelario and James Howson and directed by Andrea Arnold.
Adaptations which reset the story in a new setting include the 1954 adaptation retitled Abismos de Pasion directed by Spanish filmmaker Luis Buñuel set in Catholic Mexico, with Heathcliff and Cathy renamed Alejandro and Catalina. In Buñuel's version Heathcliff/Alejandro claims to have become rich by making a deal with Satan. The New York Times reviewed a re-release of this film as "an almost magical example of how an artist of genius can take someone else's classic work and shape it to fit his own temperament without really violating it," noting that the film was thoroughly Spanish and Catholic in its tone while still highly faithful to Brontë.[29] Yoshishige Yoshida's 1988 adaptation also has a transposed setting, this time in medieval Japan. In Yoshida's version, the Heathcliff character, Onimaru, is raised in a nearby community of priests who worship a local fire god. In 2003, MTV produced a poorly reviewed version set in a modern California high school.
The novel has been popular in opera and theatre, including operas written by Bernard Herrmann, Carlisle Floyd, and Frédéric Chaslin (most cover only the first half of the book) and a musical by Bernard J. Taylor. The libretto of Herrmann's opera (written by his wife) incorporates material from poems by Emily Brontë, and his score has a few musical motifs that appeared in both prior and subsequent film scores by Herrmann.
In autumn of 2008, Mark Ryan launched a dramatic musical adaptation of the novel, narrated by Ray Winstone. He composed, sang, and produced the tracks with Robb Vallier who had worked on Spamalot. He also directed the video for the song "Women" filmed especially for the website and featuring Jennifer Korbee, Jessica Keenan Wynn, and Katie Boeck.
In 2011, a graphic novel version was published by Classical Comics,[30] and stays close to the original novel. It was adapted by Scottish writer Sean Michael Wilson and hand painted by comic book veteran artist John M Burns. This version received a nomination for the Stan Lee Excelsior Awards, voted by pupils from 170 schools in the United Kingdom.
Works inspired[edit]
Kate Bush's song "Wuthering Heights" is most likely the best-known creative work inspired by Brontë's story that is not properly an "adaptation." Bush wrote and released the song when she was eighteen and chose it as the lead single in her debut album (despite the record company preferring another track as the lead single). It was primarily inspired by the Olivier-Oberon film version which deeply affected Bush in her teenage years. The song is sung from Catherine's point of view as she pleads at Heathcliff's window to be admitted. It uses quotations from Catherine, both in the chorus ("Let me in! I'm so cold!") and the verses, with Catherine's admitting she had "bad dreams in the night." Critic Sheila Whiteley wrote that the ethereal quality of the vocal resonates with Cathy's dementia, and that Bush's high register has both "childlike qualities in its purity of tone" and an "underlying eroticism in its sinuous erotic contours."[31]
The 1976 album Wind and Wuthering, by British progressive rock band Genesis, alludes to the Brontë novel not only in the album's title but also in the titles of tracks 7 ("Unquiet Slumbers for the Sleepers...") and 8 ("...In That Quiet Earth"), which are derived from the novel's closing sentence: "I lingered round them, under that benign sky: watched the moths fluttering among the heath and harebells, listened to the soft wind breathing through the grass, and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth."
Wuthering Heights has also inspired a role-playing game. The game is distributed free on the Internet by French author Philippe Tromeur.[32] The game is mentioned in the introduction for the 2007 Broadview Press edition of Wuthering Heights and in a footnote in the 2005 (Volume 33) issue of periodical Victorian literature and culture.[33]
Notes[edit]
1.Jump up ^ Emily Brontë saved sections of five reviews of the 1847 version of Wuthering Heights, of which four have been identified as having appeared in the January 1848 numbers of the Atlas, Douglas Jerrold's Weekly Newspaper, the Examiner, and the Britannia. The fifth has neither a date nor source.
2.Jump up ^ Wuthering Heights was published alongside Agnes Grey under the pseudonyms "Acton and Ellis Bell" (Anne and Emily respectively). Wuthering Heights comprised the first two parts of the volume, and Agnes Grey the third: "The third volume of the book is made up of a separate tale relating to the fortunes of a governess." (Britannia (1848))
References[edit]
1.Jump up ^ Bloom's Guides: Wuthering Heights
2.Jump up ^ Charlotte's 1850 Edition
3.Jump up ^ "Excerpts from Contemporary Reviews". Academic.brooklyn.cuny.edu. 4 March 2009. Retrieved 19 May 2010.
4.Jump up ^ "''Wuthering Heights'': Publication & Contemporary Critical Reception". Academic.brooklyn.cuny.edu. 4 March 2009. Retrieved 19 May 2010.
5.Jump up ^ Dante Gabriel Rossetti letters
6.Jump up ^ "Later Critical Response to Wuthering Heights". Academic.brooklyn.cuny.edu. 4 March 2009. Retrieved 19 May 2010.
7.Jump up ^ Eagleton, Terry. Myths of Power: A Marxist Study of the Brontës. London: Palgrave Macmillan, 2005.
8.Jump up ^ Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination. New Haven: Yale UP, 2000.
9.Jump up ^ Harley, James (1958). The Villain in Wuthering Heights (PDF). p. 17. Retrieved 3 June 2010.
10.Jump up ^ Oates, Joyce Carol. "The Magnanimity of Wuthering Heights", Critical Inquiry, 1983
11.Jump up ^ Yukari Oda. "Emily Brontë and the Gothic: Female Characters in Wuthering Heights", LISA/LISA e-journal [Online, Writers, writings, Literary studies, document 1, 9 March 2010]
12.Jump up ^ Beauvais, Jennifer. "Domesticity and the Female Demon in Charlotte Dacre’s Zofloya and Emily Brontë’s Wuthering Heights", Romanticism on the Net, Numéro 44, novembre 2006, DOI: 10.7202/013999ar
13.Jump up ^ Cristina Ceron, Christina. "Emily and Charlotte Brontë’s Re-reading of the Byronic hero", Revue LISA/LISA e-journal [Online, Writers, writings, Literary studies, document 2, 9 March 2010, DOI : 10.4000/lisa.3504]
14.Jump up ^ Wuthering Heights Vol.1
15.Jump up ^ Wuthering Heights Vol.2
16.Jump up ^ Irene Wiltshire: Speech in Wuthering Heights
17.^ Jump up to: a b Paul Thompson (June 2009). "Wuthering Heights: the home of the Earnshaws". Retrieved 11 October 2009.
18.Jump up ^ Paul Thompson (June 2009). "The inspiration for the Wuthering Height's farmhouse?". Retrieved 11 October 2009.
19.Jump up ^ Robert Barnard (2000) Emily Brontë
20.Jump up ^ Ian Jack (1995) Explanatory Notes in Oxford World's Classics edition of Wuthering Heights
21.^ Jump up to: a b Publication Stir
22.Jump up ^ American Whig Review
23.^ Jump up to: a b Critical reception
24.^ Jump up to: a b Critical reception
25.Jump up ^ Literary World review
26.Jump up ^ Britannia review
27.Jump up ^ Wuthering Heights (1920) at the Internet Movie Database
28.Jump up ^ Wuthering Heights (2009(TV)) at the Internet Movie Database
29.Jump up ^ Vincent Canby (27 December 1983). "Abismos de Pasion (1953) Bunuel's Brontë". New York Times. Retrieved 22 June 2011.
30.Jump up ^ "Classical Comics". Classical Comics. Retrieved 5 December 2013.
31.Jump up ^ Whiteley, Sheila (2005). Too much too young: popular music, age and gender. Psychology Press. p. 9. ISBN 0-415-31029-6.
32.Jump up ^ Tromeur, Philippe (2011-01). "Wuthering Heights" game, January 2011. Many reviews of the game use an older link. Retrieved on 2011-01 from http://www.unseelie.org/rpg/wh/index.html.
33.Jump up ^ The former on page 11, the latter on p. 611
Bibliography[edit]
 This article incorporates text from a publication now in the public domain: Cousin, John William (1910). A Short Biographical Dictionary of English Literature. London: J. M. Dent & Sons. Wikisource
'Law of the Moors' essay
External links[edit]
 Wikisource has original text related to this article:
Wuthering Heights

Now in the public domain, Wuthering Heights can also be downloaded and read online from a number of sites, of which the following is just a selection:
Wuthering Heights, overview and ebook (PDF).
Wuthering Heights at Project Gutenberg.
Wuthering Heights, online text with PDF version.
Wuthering Heights at GirleBooks free downloads in PDF, PDB and LIT formats.
MP3 audiobook from LibriVox
Reader's Guide to Wuthering Heights
Wuthering Heights voted UK's favourite love story, Guardian
Wuthering Heights General Concordances PDF, PDT, RTF, DOC


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The Ring
From Wikipedia, the free encyclopedia
  (Redirected from The Ring (film))
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The Ring may refer to:


Contents  [hide]
1 Film
2 Literature
3 Television
4 Other uses
5 See also
Film[edit]
The Ring (1927 film), a film by Alfred Hitchcock
The Ring (1952 film), a film by Kurt Neumann
The Ring (1985 film), a 1985 Romanian film
The Rings, a 1985 horror film by Honarmand, aka 'Zangha'
The Ring (1996 film), a film by Armand Mastroianni
Ring Trilogy or Ringu cycle, "The Ring" horror franchise Ring (film), a 1998 Japanese horror film by Hideo Nakata, also known as Ringu or The Ring
The Ring (2002 film), a horror film by Gore Verbinski, a remake of the Japanese film
Ring 0: Birthday, a 2000 prequel to the original Japanese film
The Ring Two, a 2005 sequel to the U.S. remake of the original Japanese film.

Literature[edit]
The Ring, a 1967 novel by Richard Chopping
The Ring, a book by Daniel Keys Moran
The Ring (novel), by Danielle Steel
The Ring, a children's book by John Updike
The Ring (magazine), a boxing periodical
"The Ring" (poem), a poem by Heinrich Wittenwiler
Television[edit]
"The Ring" (Angel), a 2000 episode of Angel
The Ring (Chuck), a fictional spy organization in Chuck
"The Ring" (South Park), a 2009 episode of South Park
"The Ring" (Yes, Dear), an episode of Yes, Dear
Other uses[edit]
Nürburgring or the Ring, a German racetrack
The Ring Nebula is often called simply "The Ring"
The Ring (rock formation), a rock formation in Bulgaria
The Ring: Terror's Realm, a 2000 video game
Vaginal ring or the Ring, a hormonal contraceptive device
The Ring (album), an album by Terri Hendrix
See also[edit]
One Ring, a fictional ring of power in J. R. R. Tolkien's Middle-earth
Der Ring des Nibelungen (The Ring of the Nibelung), a cycle of operas by Richard Wagner
Ring (disambiguation)
Disambiguation icon This disambiguation page lists articles associated with the same title.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
 


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Alaska (disambiguation)
From Wikipedia, the free encyclopedia
  (Redirected from Alaska (film))
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 Look up Alaska in Wiktionary, the free dictionary.
Alaska is a state of the United States of America.
Alaska may also refer to:


Contents  [hide]
1 Places 1.1 Populated places 1.1.1 United States
1.1.2 Zimbabwe
1.2 Other
2 In media 2.1 Film
2.2 Music
2.3 Other
3 Other uses
4 See also
Places[edit]
Populated places[edit]
United States[edit]
Alaska, Indiana, in Owen County
Alaska, Michigan, in Caledonia Township, Kent County
Alaska Township, Beltrami County, Minnesota
Alaska, New Mexico, in Cibola County
Alaska, Jefferson County, Pennsylvania
Alaska, Northumberland County, Pennsylvania
Alaska, West Virginia
Alaska, Wisconsin, in the town of Pierce, Kewaunee County
Zimbabwe[edit]
Alaska, Zimbabwe, in the province of Mashonaland West
Other[edit]
Alaska Current (Pacific Ocean), a warm-water eddy current
Alaska Highway (Canada, United States)
Alaska Peninsula (United States)
Alaska Range (Canada, United States), a mountain range
Alaska Time Zone, a geographic region that keeps time by subtracting nine hours from Coordinated Universal Time
Alaska Territory (United States), historical name for Alaska before statehood, from 1912 to 1959
In media[edit]
Film[edit]
Alaska (1944 film)
Alaska (1996 film), a 1996 American film directed by Fraser Clarke Heston
Alaska: Spirit of the Wild, a 1997 documentary film
Music[edit]
Alaska!, an American indie rock band
Alaska (singer) (born 1963), female Spanish singer
Alaska (album), a 2005 album by Between the Buried and Me
"Alaska", a song by Shadow Gallery from the album Carved in Stone
"Alaska", a song by UK from their eponymous album
Other[edit]
Alaska (magazine), published in and about the state
Alaska (novel), a 1988 novel by James A. Michener
Alaska (1875), a pamphlet from 1875 about the possibility of founding an Icelandic colony
Alaska Young, a character in the book Looking for Alaska by John Green
Jay Hammond's Alaska, a 1980s television series hosted by the former Alaska governor
Sarah Palin's Alaska, a 2010s television series, also hosted by a former Alaska governor
Przystanek Alaska (Alaska Station), Polish name for the Northern Exposure TV series



Other uses[edit]
USS Alaska, a name shared by several ships of the United States Navy
SS Alaska (1881) British passenger ship
Alaska Airlines, a major American air carrier founded in Alaska and based in Seattle, Washington
19148 Alaska, an asteroid
Baked Alaska, a dessert
See also[edit]
Alaskan (disambiguation)
All pages beginning with "Alaska"
Disambiguation icon This disambiguation page lists articles associated with the same title.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
 


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The Quickie (novel)
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[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.




##This article needs additional citations for verification.  (September 2010)




##The topic of this article may not meet Wikipedia's general notability guideline.
 (September 2010)




##This article possibly contains original research.  (September 2010)


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##This article may contain previously unpublished synthesis of published material that conveys ideas not attributable to the original sources.  (September 2010)




 It has been suggested that this article be merged into James Patterson. (Discuss) Proposed since September 2010.
The Quickie is a 2007 detective novel written by James Patterson and Michael Ledwidge.[1] The novel is set in New York City.[2] In the second week of September 2007, The Quickie was number four on the "hardcover fiction" category of the New York Times Best Seller list.[3]
Plot summary[edit]
NYPD Detective Lauren Stillwell is sitting in her car when she sees her husband Paul walk in to the St. Regis Hotel with a young and attractive blonde on his arm. Lauren and Paul are having marital problems so she assumes that Paul is having an affair. Enraged, Lauren goes to see her police partner Scott and they have sex. Their night is interrupted when Paul shows up and Scott goes out to confront him. From a window, Lauren sees Paul kill Scott and throw his body in his car and drive away.
Several hours later, Lauren is called to a scene where a body has been found—Scott's body. Lauren and Scott's affair was a secret so no one suspects her involvement. She is, in fact, assigned as lead investigator. Through her investigation, Lauren discovers evidence of Paul's involvement in their home (gun, bloody clothing, etc.) and, in an attempt to protect Paul, Lauren tries to concoct a way to frame Scott's killing on someone else.
Fortunately, Scott worked as an undercover drug cop and one of his cases was against two drug-trafficking brothers, Victor and Mark Ordonez. They quickly emerge as promising suspects, thanks to their extensive criminal histories. Lauren and her team track Victor to a night club where there is a foot pursuit. Lauren and her current partner Mike Ortiz track Victor to a train yard where Ortiz manages to kill Victor, but not before Victor wounds Lauren.
During her recovery, Lauren decides to come clean with Paul about their respective affairs when Paul reveals a bombshell: he wasn't having an affair at all. Instead, the young blonde Lauren saw him with was a recruiter for a company looking to hire Paul. The new company pays Paul 3 times his current salary which allows Paul and Lauren to move to Connecticut from New York City. Even though Lauren is mortified that her affair and Scott's death resulted from a gigantic misunderstanding, she keeps it to herself. Over the next few weeks and months, Paul and Lauren's relationship strengthens and Lauren eventually discovers she is pregnant.
Even though her plan to mask Paul's involvement in Scott's death seems to be working, Lauren is disgusted with the dishonesty of it and decides to resign from the NYPD. One evening while in Connecticut visiting their new home, Paul is knocked unconscious by Mark Ordonez—Victor's brother—who then kidnaps Lauren. Mark's plan is to fly Lauren in a small plane out over the Atlantic Ocean and then drop her in as retribution for her part in killing Victor. As Mark and Lauren are driving away, Paul intervenes by ramming his car into Mark's car. Mark stops to kick and beat Paul some more, but while walking back to his car, Mark is run over and killed by a passing truck carrying cars.
At a retirement party thrown by her colleagues, Lauren learns from a cop friend that the tarp Scott's body was found wrapped in—a tarp belonging to Lauren and Paul—had a viable DNA sample on it. This DNA belongs to Paul and Lauren is scared it might spoil her otherwise perfect coverup. The cop friend says that while the sample has not been identified, it has been matched to a sample from an unsolved robbery in Washington DC 5 years earlier. The cop friend gives the evidence to Lauren since it was her case. Lauren struggles with whether to hide the evidence or pursue it, but ultimately decides to pursue it. In her mind, however, she already knows what the evidence says: Paul was involved in the Washington robbery.
One day, Lauren follows Paul from his office in New York City. He goes on a secretive plane trip to Washington DC and Lauren follows him. Once in DC, Lauren sees Paul change his clothing and ditch the glasses he normally wears. She then sees him get picked up by a woman in black Range Rover SUV. Lauren uses her police contacts to find out who owns the SUV and she shows up at the woman's home.
While there, she sees Paul and is shocked to discover him chaperoning a little girl (~4 years old) to school. Paul is a father. She confronts Paul there and discovers that he was in Washington 5 years ago for business and met the woman at the bar of the hotel he was staying at. An NCAA ticket conference is going on at the hotel and, after a bit of drinking, the woman convinces Paul that one of the men in the hotel swindled her out of a bunch of money. Inebriated Paul confronts the man and there is a struggle during which Paul is cut. He manages to get the woman's money back, but leaves a blood sample behind. Paul then got the woman pregnant, resulting in the 4 year old girl he was chaperoning around earlier. Since then, Paul has snuck down to Washington DC from New York periodically, concealing the trips in his normal travel schedule for work.
Lauren is incensed, which only gets worse when she learns that the SUV-owning woman is pregnant. With Paul's twins. Lauren then arrests Paul. When she puts him in his car, Paul draws a gun from the glove compartment, throw Lauren out of the car, and speed off. In the course of the chase, Lauren sees Paul's car fall into a river. She dives in after him and they proceed to fight underwater. Lauren manages to knock Paul out, but he is still strapped in his car and drowns.
The story ends with Lauren and her newborn son Thomas living in San Juan, Puerto Rico, where she runs her own private investigation company.
References[edit]
1.Jump up ^ Wayner, Paul (2007-08-09). "An Entire Bookshelf, in Your Hands". The New York Times (The New York Times Company). Retrieved 30 January 2009.
2.Jump up ^ Espaillat, Jennifer (2007-10-15). "Bookshelf Must-Haves: James Paterson's Successful Collaborations". Pioneer Times. Retrieved 2009-01-30.
3.Jump up ^ "Hardcover Fiction". The New York Times (The New York Times Company). 2007-09-09. Retrieved 30 January 2009.
External links[edit]
The Quickie at James Patterson's website


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Categories: Detective fiction
Novels by James Patterson
2007 novels
Novels set in New York City












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